Martin Hardie, No.2 1916 - 1919

James McBey created this etching, Martin Hardie, No.2, around 1916 with a plate that was reworked in 1919. The linear precision speaks to etching’s unique ability to capture detail. It’s all about the confidence of the mark. See how the density of the lines change? Look around the face and the left lapel of the jacket. The concentration of marks creates shadow and tonality, with only a few thin lines defining the opposite side of the figure, giving the impression of light. The marks on the right side of the figure are so sparse, they almost feel unfinished, but they give the image such a sense of dynamism. The process of etching, of biting into the metal and layering up marks, feels almost sculptural. Artists like Lucian Freud also explore this process of building tone through line, giving their images a strong sense of form and depth. This piece invites us to consider how the interplay between light and shadow can bring a figure to life.