Interior of Saint-Maclou, Rouen

Born in Adelaide, South Australia, Mortimer Menpes (1855-1938) came from a wealthy background and moved to England in 1875, where he studied at the School of Art, later the Royal College of Art. By the time of his momentous meeting with James McNeill Whistler in 1880, Menpes had already established a considerable reputation as an etcher. Through his friendship with Whistler,  Menpes learned the finer techniques of etching whilst, in return, he assisted "The Master" in printing his first Venice Set. Menpes remained an integral part of Whistler's artistic milieu until after his extensive expedition to Japan in 1887, when he broke away from Whistler's style and was applauded in his own right for his works inspired by his visit to Japan. He also fell out personally with Whistler, which was par for the course. From this point on, Menpes's career was able to blossom in its own right and through his extensive travels he produced the largest body of topographical etchings and drypoints to be created by any original printmaker of the period in Britain (over 700). These works are remarkable for their topographical accuracy and are evidence of the consumate skill of a master printmaker.

This is evident in his turn-of-the-century drypoint print of the interior of the historic 'flamboyant' late Gothic church of Saint-Maclou, in Rouen, one of a number of historic buildings and structures he depicted in the city. Menpes dramatically uses chiaroscuro to maximise the sense of holy mystery, which is enhanced by the spectacular baldachin (altar canopy). Tragically this and other furnishings were destroyed by bombing in 1944.

See:  Campbell Fine Art, 'Mortimer Menpes' http://www.campbell-fine-art.com/artists.php?id=154 

Dr Mark Stocker   Curator, Historical International Art   May 2018