Untitled (Street Scene) c. 1926

Harry Newman Wickey made this street scene, sometime in the 20th century, using etching. It's all about the process, isn't it? The way the artist coaxes lines from a metal plate, a kind of choreography between intention and accident. Looking closely, you can see how the density of marks creates a sense of depth, almost like a swarm. The lines aren't just describing forms; they're building atmosphere, a kind of visual static that makes the scene feel so alive. See how the buildings in the background seem to dissolve into a haze of lines? It’s like the city itself is breathing. Wickey reminds me a little of someone like Käthe Kollwitz, who was also a master of using printmaking to capture the gritty realities of urban life. But where Kollwitz is all about stark contrasts and heavy shadows, Wickey feels lighter, almost playful, in his approach. It’s a reminder that even in the darkest subjects, there’s always room for a bit of light.