Cecco 1913

William Auerbach-Levy made this drypoint called Cecco sometime in the early 20th century, using a sharp needle to scratch directly into a copper plate. You can see how the marks vary, from short, soft lines, to deeper, more jagged ones, like around the figure’s beard. It gives the whole image a kind of nervous energy. Looking at the figure’s cape, you can see how Auerbach-Levy uses these long, vertical lines to create a sense of depth and volume. The cape looks almost like it's made of rain, falling down around him. This technique reminds me a bit of some of Käthe Kollwitz's prints, where she uses similar lines to create really powerful, emotional images. Both Kollwitz and Auerbach-Levy share a connection through their raw, expressive lines, making visible the physical effort and emotional investment that goes into making an image. It’s like they’re both saying, "Here it is, the mark, the process, the feeling." It’s not just about what you see, but how you see it, and the story the artist is telling through their actions.