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Drypoint Collection (#63)

Drypoint is a versatile and captivating printmaking technique that has been used by artists throughout history to create stunning works of art

Background imageDrypoint Collection: Alphonse Legros, Convalescent (Le convalescent), French, 1837-1911, drypoint

Alphonse Legros, Convalescent (Le convalescent), French, 1837-1911, drypoint

Background imageDrypoint Collection: Alphonse Legros, Fagot-gatherers (Les fagottiers), French, 1837-1911, etching

Alphonse Legros, Fagot-gatherers (Les fagottiers), French, 1837-1911, etching and drypoint

Background imageDrypoint Collection: Alphonse Legros, Near the Woods (Pres du bois), French, 1837-1911, drypoint

Alphonse Legros, Near the Woods (Pres du bois), French, 1837-1911, drypoint

Background imageDrypoint Collection: Alphonse Legros, In the Pyrenees (Dans les Pyrenees), French, 1837-1911, etching

Alphonse Legros, In the Pyrenees (Dans les Pyrenees), French, 1837-1911, etching and drypoint

Background imageDrypoint Collection: Alphonse Legros, Along the Terne (Sur la terne), French, 1837-1911, etching? and drypoint

Alphonse Legros, Along the Terne (Sur la terne), French, 1837-1911, etching? and drypoint

Background imageDrypoint Collection: Alphonse Legros, Plate made for an Exhibition at the Dunthorne Home (Planche faite

Alphonse Legros, Plate made for an Exhibition at the Dunthorne Home (Planche faite pour une exposition chez Dunthorne), French, 1837-1911, etching and drypoint

Background imageDrypoint Collection: Alphonse Legros, Landscape with Haystacks (Le paysage aux meules), French, 1837-1911

Alphonse Legros, Landscape with Haystacks (Le paysage aux meules), French, 1837-1911, etching and drypoint

Background imageDrypoint Collection: Alphonse Legros, Jules Dalou, 2nd plate, French, 1837-1911, etching and drypoint

Alphonse Legros, Jules Dalou, 2nd plate, French, 1837-1911, etching and drypoint

Background imageDrypoint Collection: Alphonse Legros, Breton Peasant (Paysan breton), French, 1837-1911, drypoint

Alphonse Legros, Breton Peasant (Paysan breton), French, 1837-1911, drypoint

Background imageDrypoint Collection: Jules-Ferdinand Jacquemart after Jan van de Cappelle (French, 1837-1880), L Approche

Jules-Ferdinand Jacquemart after Jan van de Cappelle (French, 1837-1880), L Approche de l Orage (The Storms Approach), etching and drypoint in black on laid paper

Background imageDrypoint Collection: Alphonse Legros, Fagot-cutter (Le coupeur de fagots), French, 1837-1911, etching

Alphonse Legros, Fagot-cutter (Le coupeur de fagots), French, 1837-1911, etching and drypoint

Background imageDrypoint Collection: Alphonse Legros, Traveler Reclining on the Grass (Le voyageur etendu sur le gazon)

Alphonse Legros, Traveler Reclining on the Grass (Le voyageur etendu sur le gazon), French, 1837-1911, etching and drypoint in brown

Background imageDrypoint Collection: Alphonse Legros, Self-Portrait, 3rd plate, French, 1837-1911, etching? and drypoint

Alphonse Legros, Self-Portrait, 3rd plate, French, 1837-1911, etching? and drypoint

Background imageDrypoint Collection: Jean-Louis Forain, The Meeting under the Arch (second plate), French, 1852-1931, 1910

Jean-Louis Forain, The Meeting under the Arch (second plate), French, 1852-1931, 1910, drypoint

Background imageDrypoint Collection: Jean-Louis Forain, The Notables (large plate), French, 1852-1931, c. 1915, etching

Jean-Louis Forain, The Notables (large plate), French, 1852-1931, c. 1915, etching and drypoint

Background imageDrypoint Collection: Jean-Louis Forain, The Return Home, French, 1852-1931, c. 1915, etching and drypoint

Jean-Louis Forain, The Return Home, French, 1852-1931, c. 1915, etching and drypoint

Background imageDrypoint Collection: Francois-Nicolas Chifflart, Perseus, French, 1825-1901, 1865, etching with drypoint

Francois-Nicolas Chifflart, Perseus, French, 1825-1901, 1865, etching with drypoint on laid paper

Background imageDrypoint Collection: Francois-Nicolas Chifflart, Surprise, French, 1825-1901, 1865, etching with drypoint

Francois-Nicolas Chifflart, Surprise, French, 1825-1901, 1865, etching with drypoint on laid paper

Background imageDrypoint Collection: Felix-Hilaire Buhot (French, 1847-1898), La Chapelle Saint-Michel a l Estre, etching

Felix-Hilaire Buhot (French, 1847-1898), La Chapelle Saint-Michel a l Estre, etching and drypoint on laid paper

Background imageDrypoint Collection: Eugene Blery (French, 1805-1887), Beech Grove, 1840, etching with drypoint and roulette

Eugene Blery (French, 1805-1887), Beech Grove, 1840, etching with drypoint and roulette on chine colle

Background imageDrypoint Collection: Eugene Blery (French, 1805-1887), Entrance to a Forest, 1840, etching with drypoint

Eugene Blery (French, 1805-1887), Entrance to a Forest, 1840, etching with drypoint and roulette on chine colle

Background imageDrypoint Collection: Albert Besnard, Jules Destree, French, 1849-1934, 1917, etching and drypoint in black

Albert Besnard, Jules Destree, French, 1849-1934, 1917, etching and drypoint in black on cream laid paper

Background imageDrypoint Collection: Eugene Blery (French, 1805-1887), Thornbushes, 1840, etching with drypoint and roulette

Eugene Blery (French, 1805-1887), Thornbushes, 1840, etching with drypoint and roulette on chine colle

Background imageDrypoint Collection: CASSATT: CARESS, 1891. Maternal Caress. Drypoint and aquatint by Mary Cassatt, 1891

CASSATT: CARESS, 1891. Maternal Caress. Drypoint and aquatint by Mary Cassatt, 1891

Background imageDrypoint Collection: CASSATT: JEANNETTE, 1901. Jeannette and her mother seated on a sofa

CASSATT: JEANNETTE, 1901. Jeannette and her mother seated on a sofa. Drypoint etching by Mary Cassatt, 1901

Background imageDrypoint Collection: CASSATT: MOTHER, 1891. Mothers Kiss. Drypoint and aquatint by Mary Cassatt, 1891

CASSATT: MOTHER, 1891. Mothers Kiss. Drypoint and aquatint by Mary Cassatt, 1891

Background imageDrypoint Collection: CASSATT: BATH, 1891. The Bath. Drypoint and aquatint by Mary Cassatt, 1891

CASSATT: BATH, 1891. The Bath. Drypoint and aquatint by Mary Cassatt, 1891

Background imageDrypoint Collection: CASSATT: TOILETTE, 1891. La Toilette Drypoint and aquatint by Mary Cassatt, 1891

CASSATT: TOILETTE, 1891. La Toilette Drypoint and aquatint by Mary Cassatt, 1891

Background imageDrypoint Collection: CASSATT: THE LAMP, 1891. The Lamp. Drypoint and aquatint by Mary Cassatt, 1891

CASSATT: THE LAMP, 1891. The Lamp. Drypoint and aquatint by Mary Cassatt, 1891

Background imageDrypoint Collection: CASSATT: BANJO LESSON. The Banjo Lesson. Drypoint and aquatint by Mary Cassatt, 1893

CASSATT: BANJO LESSON. The Banjo Lesson. Drypoint and aquatint by Mary Cassatt, 1893

Background imageDrypoint Collection: CASSATT: THE LETTER, c1890. The Letter. Drypoint and aquatint by Mary Cassatt, c1890

CASSATT: THE LETTER, c1890. The Letter. Drypoint and aquatint by Mary Cassatt, c1890

Background imageDrypoint Collection: GOYA Y LUCIENTES, Francisco de (1746-1828). Caprices

GOYA Y LUCIENTES, Francisco de (1746-1828). Caprices
" GOYA Y LUCIENTES, Francisco de (1746-1828). Caprices. This Is Certainly Reading. 1797-1799. Plate 29 of " Los Caprichos", etching, burnished aquatint and drypoint. Romanticism

Background imageDrypoint Collection: Abducting horse. Plate 10 of Proverbs

Abducting horse. Plate 10 of Proverbs
GOYA Y LUCIENTES, Francisco de (1746-1828). Abducting horse. Plate 10 of Proverbs, etching, aquatint and drypoint. Engraving

Background imageDrypoint Collection: Happy fantasy. Plate 12 of Proverbs

Happy fantasy. Plate 12 of Proverbs
GOYA Y LUCIENTES, Francisco de (1746-1828). Happy fantasy. Plate 12 of Proverbs, etching, aquatint and drypoint. Engraving

Background imageDrypoint Collection: There they go, plucked. Plate 20 of Los Caprichos

There they go, plucked. Plate 20 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). There they go, plucked. Plate 20 of Los Caprichos, etching, burnished and drypoint

Background imageDrypoint Collection: Blow. Plate 69 of Los Caprichos

Blow. Plate 69 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Blow. Plate 69 of Los Caprichos, etching, aquatint, drypoint and burin

Background imageDrypoint Collection: Riddle of fear. Plate 2 of Proverbs

Riddle of fear. Plate 2 of Proverbs
GOYA Y LUCIENTES, Francisco de (1746-1828). Riddle of fear. Plate 2 of Proverbs, etching, aquatint and drypoint. Engraving

Background imageDrypoint Collection: Volaverunt. Plate 61 of Los Caprichos

Volaverunt. Plate 61 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Volaverunt. Plate 61 of Los Caprichos, etching, aquatint and drypoint. Engraving;

Background imageDrypoint Collection: MARSH: METROPOLITAN OPERA. Grand Tier at the Metropolitan Opera in New York City

MARSH: METROPOLITAN OPERA. Grand Tier at the Metropolitan Opera in New York City. Line engraving with drypoint by Reginald Marsh, 1939

Background imageDrypoint Collection: CASSATT: LA TOILETTE, 1891. Drypoint and aquatint by Mary Cassatt

CASSATT: LA TOILETTE, 1891. Drypoint and aquatint by Mary Cassatt




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Drypoint is a versatile and captivating printmaking technique that has been used by artists throughout history to create stunning works of art. From Edvard Munch's iconic "The Kiss" to ancient maps depicting the travels of the Apostle Paul and the wanderings of the Israelites, it has left its mark on various artistic genres. In Munch's masterpiece, "The Kiss, " we can see how drypoint adds depth and texture to his portrayal of love and passion. The delicate lines etched into the plate bring out every emotion in this intimate moment. Moving away from romantic scenes, it also finds its place in historical engravings like the detailed map of Berlin or ancient Jerusalem. These intricate prints showcase not only geographical accuracy but also highlight the meticulousness required for creating such fine details using this technique. During times of war, artists like James McBey utilized drypoint to capture intense moments like "A Sixty-Five Pounder Opening Fire. " The sharp lines etched onto metal plates perfectly depict the chaos and destruction experienced during World War I. Religious themes are not exempt from being portrayed through drypoint either. In depictions such as "The Last Supper" or Rembrandt van Rijn's "Christ Preaching (La Petite Tombe), " this technique adds an ethereal quality that enhances their spiritual significance. Not limited to traditional subjects, it also captures everyday life with incredible precision. Mary Cassatt's tender piece, "Maternal Caress, " showcases her mastery in capturing human emotions through delicate lines etched onto copper plates. Exploring further into French artistry, Felix Bracquemond's 1862 work demonstrates how even abstract compositions can benefit from drypoint techniques. His unknown piece invites viewers to interpret its meaning while appreciating the artist's skillful use of line and shading. Jean Louis Forain takes us into a different realm with his depiction of a seated nude woman from the back.