Daylight Savings 1924

George William Eggers made this print, Daylight Savings, with etching, and the result is kind of moody, right? Look at the top of the print, at the way the sky is rendered. It almost looks like the ink was smudged by hand, but it's actually carefully etched, creating this super dramatic backdrop. There's something really physical about the way Eggers worked. You can almost feel the pressure of the tool, and the surface has a tangible texture. And then there's this crazy-tall cathedral looming over everything, like a mountain, and down below, on what looks like a rooftop, there are two figures, small and kind of anonymous. The cathedral’s heavy form is made up of so many lines, it's almost vibrating! Think about Piranesi, with his architectural fantasies, or maybe some of those cityscapes by the German Expressionists. Eggers is definitely having a conversation with art history, but he’s doing it in his own way. It feels more personal, more intimate, and maybe even a little bit melancholy.