Not currently on view
In the collection of Cleveland Museum of Art, Cleveland · as of August 2026
FROM THE CLEVELAND MUSEUM OF ART’S CATALOG
Wood engraving was perfected about 1770 in England by Thomas Bewick (1753–1828). Since the end grain of a hard wood is used, the block can be engraved with a sharp instrument called a burin, making closely set lines possible and producing a great range of textures and tones. The surface of the block is inked and printed so that the engraved lines appear as white areas. The strength of the block meant that numerous impressions could be printed. Wood engraving thus became a principal method for illustrating books and newspapers in the 19th century. Lepère developed an extraordinary mastery of wood engraving, which he used to effectively describe a snowy view of central Paris. The confetti-like snowflakes silhouetted against the dark river, and the overall blurring effect caused by the snowfall in the distance, are a tour de force.
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Maxime Lalanne (French, 1827–1886) — Paris, View from the Co
Maxime Lalanne (French, 1827–1886) — View from the Louvre
Maxime Lalanne (French, 1827–1886) — On the Seine
Charles Meryon (French, 1821–1868) — Etchings of Paris: The
Maxime Lalanne (French, 1827–1886) — Paris in 1867, View fro
James McNeill Whistler (American, 1834–1903) — The Thames
Otto H. Bacher (American, 1856–1909) — Cleveland, Woodland A
Félix Hilaire Buhot (French, 1847–1898) — Westminster Bridge
Francis Seymour Haden (British, 1818–1910) — Greenwich
Francis Seymour Haden (British, 1818–1910) — Battersea Reach
James McNeill Whistler (American, 1834–1903) — Old Westminst
William Walcot (British, 1874–1943) — Arteries of Great Brit
