Two Figures between Trees 

Pierre Laprade created this drypoint print, "Two Figures between Trees," using a sharp needle to directly scratch an image onto a copper plate. The fine lines, almost like a sketch, show the immediacy of the artist's hand. Unlike etching, which uses acid to bite into the metal, drypoint relies entirely on the physical pressure of the tool. This creates a burr, a ridge of displaced metal alongside the incised line, which catches ink and results in the velvety, slightly blurred quality we see here. This printmaking technique allowed for multiple reproductions, democratizing art. The labor-intensive process of creating the plate contrasts with the relative ease of pulling prints, raising questions about the value of the original artistic gesture versus the accessibility of the image. Laprade’s choice of drypoint speaks to the evolving relationship between artistic skill, mechanical reproduction, and consumption in the early 20th century. By focusing on process and materials, we gain insight into the broader context of artistic production and its connection to society.