Title

Mr Rupert Bunny's oil drawings [monotypes].

Author

Author not identified

Source

Magazine of Art (London).

Details

1899, pages 376-377.

Publication date

1899

Physical description

illustrations: 2 b&w

Type

Exhibition review

Language

English

Country of context

Australia

Full text

MR. RUPERT BUNNY’S OIL DRAWINGS

The method of painting on a metal plate and transferring the picture from thence to paper is, of course, a well-known, as well as an old, process. Until recently, however, these “monotypes” were done merely in black, and last year it occurred to Mr. Rupert C. W. Bunny, the young Australian artist, to make experiments with the process in the direction of colour, and he, together with Mr. Koopman, another artist residing in Paris, were so far successful as to get a number of these works finished for exhibition purposes. Mr. Bunny’s were shown at the Fine Art Society’s Galleries, and Mr. Koopman’s at the George Petit Gallery in Paris in November last. We are enabled to reproduce two of Mr. Bunny’s drawings in black and white, their curious quality preventing our doing so in colour.

Mr. Bunny’s drawings are made upon a zinc plate in transparent colours. The lights are, of course, left, and the colour is applied with brushes, rag, or even his fingers – in any way, indeed, to obtain the particular effect desired. The work necessarily has to be done quickly, as once the paint begins to dry it is apt to stick when the printing stage is reached. For this reason Mr. Bunny does not work from models when doing these drawings, as the close attention required would take too long for the process. The subjects are therefore treated entirely from memory. For the purposes of printing, he uses the strongest blotting paper that can be obtained, and the transfer is made by the pressure of an India-rubber roller, Mr. Bunny having found this much better than using a press, as an uneven pressure is oftentimes advantageous.

Mr. Bunny’s ‘drawings’ have a brightness and freshness that is absolutely pleasing, and the fact that each “drawing” is unique – duplication being, of course, quite impossible – places them on the same level as a painting on canvas. The difficulties connected in the production of these works are numerous and obvious, and can only be overcome by much experience and the spoiling of many drawings.