Gloucester

D.Y. Cameron was a successful painter and a very influential etcher. He studied at the Glasgow School of Art before joining life classes at the Royal Scottish Academy. His work was acclaimed in Edinburgh, London, Berlin and Munich. During the First World War, Cameron was appointed official war artist to the Canadian government and in 1933 was made the King's Painter in Scotland. Cameron was highly sought after by collectors until the Great Crash of 1929 brought a collapse in prices for prints in general. Despite his excellence as a printmaker, his work still remains underrated both in art historical and market terms.

Strong tonal contrasts characterise his prints and his stark and dramatic paintings, which are mainly landscapes and cityscapes. His prints often feature areas of great darkness, offset by highlights. Cameron’s etchings are notable for their use of drypoint, a skill that he had mastered over his years of production. This is particularly evident in his studies of Scottish landscapes and church interiors such as Gloucester.

In this interior, Cameron shows a dedication to the Gothic architectural detail of Gloucester Cathedral, creating atmospheric space through intense lighting. The design of the nave arches are given pride of place in the drypoint etching, their highlights emerging from the shadows. Throughout his life Cameron had a deep religious faith - he was the son of a minister - and his interest in themes like this reflected his belief that beauty and decoration were essential elements in the practice of worship.

There is another impression of the print, also third state, in Te Papa's collection (1969-0006-2).

Sources:

Arthur M. Hind, The Etchings of D.Y. Cameron (London; Halton and Truscott Smith, 1924)

National Galleries Scotland,

Wikipedia: https://en.wikipedia.org/wiki/David_Young_Cameron

Dr Mark Stocker    Curator, Historical International Art   December 2017