James McBey 1931

Gerald Leslie Brockhurst etched this plate of James McBey, and the beauty of the printmaking process is how it renders everything in tone and texture. Look at the way Brockhurst uses the contrast between light and shadow to model McBey’s face, giving him a sculptural quality. The whole thing is very tonal, all shades of grey, but that’s where the artistry comes in, right? How to make a whole world out of grayscale? Notice the dense hatching in the darker areas, like the background on the left and the shadows under McBey’s chin. Then look at the softer, more delicate lines used to suggest the texture of his patterned jacket. There is something about the material of the jacket which contrasts with his stern gaze. Brockhurst’s style reminds me a little of Whistler’s etchings, with their emphasis on atmosphere and mood. But Brockhurst has this almost photographic realism too, an eye for detail, which places him within a different tradition. Ultimately, it’s all about making marks and creating a world, one tiny line at a time.