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F. G. Stephens contributed articles. In the third year a series of "Examples of Modern Etching" was made the chief feature. It included plates by M. L. Flameng, Sir F. Seymour Haden, M. Legros, M. Bracquemond, M. Lalanne, M. Rajon, M. Veyrassat, and Mr. S. Palmer.
When they settled upon a place it was diligently cultivated, but the lead was absolutely left to the oyster. Dr. Lalanne, in the intervals of a large medical practice at La Teste, a little place on the margin of the Basin, observed that oysters were often found attached to a piece of a wreck floating in the middle of the water far remote from the beds.
I acknowledge that I braved public opinion, and that much ill was said of me often, more than I deserved." "Isn't it true that your name was connected with that of a man called Lalanne, and that he was killed in a duel on your account?" "It's true that Monsieur Lalanne made love to me; it's also true that he was killed in a duel; but it's not true that it was on my account.
"To fear?" replied Louis with a proud shrug. "A man who has a good conscience does not fear. The grenadier's name whose hand the king took, was Lalanne.
Between these two extremes of method there is a wide latitude for individual choice. Contrast with the foregoing the accompanying pen drawing by Mr. Compared with the sketches by Lalanne it has more richness of color, but there is the same fine restraint, the same nice regard for the instrument. The student will find it most profitable to study the work of this masterly penman.
Of him Hamerton wrote: "No one ever etched so gracefully as Maxime Lalanne; ... he is essentially a true etcher... There have been etchers of greater power, of more striking originality, but there has never been an etcher equal to him in a certain delicate elegance." This is very amiable, and Joseph Pennell is quite as favourable in his judgment. "His ability," wrote Mr.
The scenes of Thames water-side, Nogent, Houlgate Beach, at Richmond, or at Cusset are very attractive. His larger plates are not convincing, the composition does not hang together; the eye vainly seeks focussing centres of interest. Beraldi was right when he said that Lalanne has not left one surpassing plate, one of which the world can say: There is a masterpiece!
Whistler and Titian would be big companions indeed for the clever-mannered and rather pedantic Lalanne. Let us admit without balking at Hamerton that his line is graceful. He belongs to the old-fashioned school which did not dream, much less approve, of modern tonal effects in their plates. It is also as hard. Atmosphere, in the material as well as the poetic sense, is missing.
Born at Bordeaux in 1827, Lalanne died in 1886. Strangely enough, illustrator as he was, his transpositions into black and white of subjects by Troyon, Ruysdael, Crome, Constable, and many others are not so striking either in actual technique or individual grasp as his original pieces. Constable, for instance, is thin, diffuse, and without richness. Mezzotinted by the hands of such a man as Lucas, we recognise the real medium for translating the English painter. A master of the limpid line, Lalanne shows you a huddled bit of Amsterdam or a distant view of Bordeaux, or that delicious prospect taken on a spot somewhere below the Pont Saint-Michel, with the Pont Neuf and the Louvre in the background. He had a feeling for those formal gardens which have captured within their enclosure a moiety of nature's unstudied ease. The plate called Aux Environs de Paris reveals this. And what slightly melancholy tenderness there is in Le Canal
The technique is varied and interesting, but the whole drawing lacks that individual something which we call Style. In the Lalanne drawings we see foliage convincingly represented by means of the mere outlines and a few subtle strokes of the pen.
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