Fintray, No.1 1911

James McBey made this etching, Fintray, No. 1, using thin, deliberate lines that remind me of handwriting – thoughtful, a little hesitant, but confident in their course. It's all about the process, isn't it? The way the artist coaxes an image out of a blank surface. The texture is fascinating; the paper has a slight tooth that catches the ink, creating tiny shadows and highlights. Look at the reeds in the foreground; each stroke is carefully placed, but together they form a tangled, wild mass. It's like McBey is showing us how a few simple gestures can create complexity, depth, and even a sense of place. It makes me think of Whistler, another master of the etching, who saw the medium as a kind of visual poetry. Both artists share a sense of understated elegance, a willingness to embrace ambiguity, and a belief that art is an ongoing conversation, a way of seeing and thinking that unfolds over time.