After-Glow (or Evening) on the Findhorn 1907

David Young Cameron made this etching, After-Glow on the Findhorn, during a time when printmaking was experiencing a real revival. Look at the surface of the water - see how it shimmers in the dusk? I can imagine Cameron, carefully and methodically working on the plate, re-working the image, using the acid to bite into the metal to create those soft tonal gradations. It's interesting to think about how he built up the image, from the dark, velvety blacks of the trees to the delicate, almost ethereal highlights on the water. It's easy to see how the subtle tonal variations in the sky create a sense of depth, making you feel like you could step right into the scene. The figures in the distance invite you to imagine their stories, creating this whole mood that is atmospheric and kind of dreamy. You can see the influence of Whistler and other tonalist painters of the time. Artists are always looking at each other, riffing on each other's ideas, building a visual language together. Ultimately, this etching is a testament to the power of suggestion, inviting us to bring our own experiences to the work.