Frank Short (1857-1945) stands as a monumental figure in the history of British art, particularly renowned for his extraordinary skill as a printmaker and his influential role as an educator. His career spanned a period of significant revival and innovation in the graphic arts, and he was not merely a participant but a leading force in this transformation. From his early training as an engineer to his knighthood for services to art, Short’s life was dedicated to the mastery and promotion of printmaking techniques, leaving an indelible mark on generations of artists and the appreciation of prints as a fine art form.
Early Life and an Engineer's Precision
Born on June 19, 1857, in Wollaston, Stourbridge, Worcestershire, Francis (Frank) Job Short initially embarked on a career far removed from the art world. He trained as a civil engineer, a profession that undoubtedly instilled in him a meticulous attention to detail, a profound understanding of materials, and a methodical approach to problem-solving. These qualities would later prove invaluable in the complex and demanding processes of printmaking. While engineering offered a practical application for his intellect, a deeper calling began to emerge.
The allure of art eventually led Short to redirect his path. He began his formal art education at the Stourbridge School of Art, followed by studies at the prestigious National Art Training School in South Kensington (later the Royal College of Art) and the Westminster School of Art. It was here that he immersed himself in the diverse techniques of the graphic arts, including woodcut, lithography, and, most significantly, etching and mezzotint. His engineering background provided a unique foundation, allowing him to approach the chemical and mechanical aspects of printmaking with an unusually informed perspective.
The Ascendance of a Printmaker
Short's dedication and burgeoning talent quickly gained recognition. He began exhibiting his works at the Royal Academy of Arts in 1885, a relationship that would continue until 1904. His prowess was not confined to British shores; he achieved international acclaim by winning gold medals at the Paris Salon in both 1889 and 1900. These accolades were a testament to his exceptional skill and the growing appreciation for printmaking as a serious artistic medium, a movement in which Short was a key protagonist.
He became particularly celebrated for his mastery of etching and mezzotint. Mezzotint, a tonal engraving method that allows for rich, velvety blacks and subtle gradations of tone, had largely fallen into disuse by the 19th century. Short was instrumental in its revival, not only through his own exquisite mezzotints but also through his teaching and writings. He explored its full potential, demonstrating its suitability for capturing atmospheric effects, a hallmark of his landscape work. His technical command extended to all aspects of plate preparation, etching, and printing, ensuring that each impression was a work of art in its own right.
Interpreting the Masters and Original Visions
Frank Short's oeuvre can be broadly categorized into two areas: reproductive prints and original compositions. In an era before high-quality photographic reproduction was commonplace, skilled engravers played a vital role in disseminating the works of renowned painters to a wider audience. Short excelled in this demanding field, creating masterful interpretations of paintings by British masters.
His most notable reproductive works include etchings and mezzotints after J.M.W. Turner. He undertook the monumental task of completing the unpublished plates for Turner’s Liber Studiorum ("Book of Studies"), a series of prints Turner intended to demonstrate the vast expressive range of landscape composition. Short’s engagement with Turner’s work was profound; he not only completed the series with immense sensitivity and technical fidelity but also absorbed Turner's romantic sensibility and his fascination with light and atmosphere. Works such as his interpretations of Turner's Sunrise over Quartz Mountain (often referred to as A Yorkshire Dell or The Woman and Tambourine) and The Devil's Bridge, St. Gothard showcase his ability to translate the painterly qualities of Turner into the linear and tonal language of print.
Beyond Turner, Short also created reproductive prints after other significant artists, including John Constable, whose atmospheric landscapes found a sympathetic interpreter in Short. He also engraved works by G.F. Watts, Peter De Wint, and David Cox, demonstrating a versatile ability to capture the essence of different artistic styles. These reproductive works were not mere copies; they were translations that required a deep understanding of the original and a masterful command of the chosen printmaking technique.
While his reproductive prints were highly acclaimed, Short was also a gifted original artist. His own compositions predominantly featured landscapes and coastal scenes, often imbued with a quiet, poetic melancholy. He drew inspiration from the British countryside, the estuaries of Kent and Sussex, and the rugged coastlines. Works like The Stork and Aqueduct, Low Tide and the Evening Star, and The Entrance to Whitstable Harbour (1909) exemplify his ability to capture the fleeting effects of light, weather, and time. His original mezzotint, Stonehenge at Daybreak, is a particularly evocative piece, conveying the ancient monument's mysterious grandeur through subtle tonal gradations.
A Profound Influence: The Educator
Frank Short's impact on British art extends far beyond his own creations. He was a dedicated and highly influential teacher, shaping the course of printmaking in Britain for decades. In 1891, he was appointed Director of the School of Engraving (Etching and Engraving) at the Royal College of Art, South Kensington, a position he held with distinction. He was later made Professor of Engraving from 1913 until his retirement from the post in 1924.
His teaching philosophy emphasized a thorough understanding of technique coupled with artistic vision. He believed that mastery of the craft was essential for true artistic expression. Short's studio at the RCA became a crucible for a new generation of British printmakers. His students included many who would go on to achieve significant recognition in their own right. Among them were Martin Hardie, who became a noted etcher, watercolourist, and Keeper of Prints and Drawings at the Victoria and Albert Museum, and also wrote extensively on printmaking.
Other prominent students who benefited from Short's tutelage included Stanley Anderson, known for his meticulous line engravings of rural crafts and characters; Malcolm Osborne, who succeeded Short as Professor of Engraving at the RCA and was himself a distinguished etcher and engraver; Job Nixon, another fine etcher; and Robert Austin, celebrated for his precise and delicate engravings. The list continues with figures like Graham Sutherland, who, though later famous as a painter, began his career as an etcher under Short's guidance, producing visionary landscapes. William Larkins, Geoffrey Wedgwood, and the renowned wildlife artist Charles Tunnicliffe also passed through his classes, each carrying forward the high standards of craftsmanship Short instilled.
Phyllis Dodd, an accomplished artist, studied etching and lithography under Short at the RCA before becoming known for her portraits and later, her involvement with stained glass and the Ulster Unit. Her classmate, Kathleen Bridge (known as "Pindi"), also benefited from his instruction. Short's influence was thus disseminated through his students, who, in turn, often became educators themselves, perpetuating his legacy of technical excellence and artistic integrity in British printmaking. He also authored several important books on printmaking techniques, such as "On the Making of Etchings" (1888) and "British Mezzotints" (1924), which served as essential guides for aspiring printmakers.
Leadership in the Art World
Short's commitment to the arts was further demonstrated by his active involvement in various prestigious art institutions. He was elected a Fellow of the Royal Society of Painter-Etchers and Engravers (RE) in 1885, an organization founded by Sir Francis Seymour Haden to promote original printmaking. Short's dedication and leadership qualities were recognized when he was elected its second President in 1910, succeeding Haden. He held this influential post for an impressive 28 years, until 1938, guiding the Society through a period of significant growth and activity, and championing the cause of printmakers.
His association with the Royal Academy of Arts was also long and distinguished. Beyond exhibiting his work there, he was elected an Associate of the Royal Academy (ARA) in 1906 and a full Royal Academician (RA) in 1911. In a testament to the high regard in which he was held by his peers, he served as Treasurer of the Royal Academy from 1919 to 1932. Furthermore, Short was elected President of the Art Workers' Guild in 1901, an organization that sought to promote the "unity of the arts" and break down barriers between fine art and craftsmanship, a philosophy that resonated deeply with Short's own approach. In 1911, he was also elected an Associate of the Royal Institute of Painters in Water Colours (RI), acknowledging his skill in that medium, which often complemented his printmaking practice.
Interactions with Contemporaries
Frank Short moved within a vibrant artistic milieu and interacted with many of the leading figures of his time. His connection with the legacy of J.M.W. Turner was, of course, central to his work on the Liber Studiorum. While Turner himself had passed away before Short's career began, Short's engagement with his work was a form of posthumous collaboration, bringing Turner's unfinished visions to fruition.
He had more direct interactions with James McNeill Whistler, one of the towering figures of the Etching Revival. Short occasionally printed copperplates for Whistler, a task that required immense skill and sensitivity, given Whistler's exacting standards. This association, however brief, placed Short in the orbit of one of the most innovative printmakers of the era. Whistler, along with Seymour Haden and the French artist Alphonse Legros (who taught at the Slade School of Fine Art and greatly influenced British etching), were key figures in elevating the status of original etching. Short built upon the foundations they laid.
His role as President of the Royal Society of Painter-Etchers and Engravers brought him into contact with a wide array of contemporary printmakers, including established figures like William Strang, a prolific etcher and painter, and Scottish masters such as D.Y. Cameron and Muirhead Bone, who were renowned for their dramatic architectural and landscape prints. Short's leadership fostered a supportive environment for these artists and helped to define the direction of British printmaking in the early 20th century. His influence can be seen as a bridge between the Victorian Etching Revival and the flourishing of printmaking between the World Wars, a period often referred to as a "golden age" for British prints.
Techniques and Artistic Style Revisited
Short's artistic style was characterized by its subtlety, its atmospheric depth, and its profound respect for the natural world. He was not an artist of grand, dramatic statements but rather of nuanced observations. His landscapes often evoke a specific time of day or weather condition, with light playing a crucial role. Whether working in etching, drypoint, aquatint, or mezzotint, he demonstrated an uncanny ability to manipulate the plate to achieve the desired effect.
His mastery of mezzotint, as previously mentioned, was particularly noteworthy. This technique involves first roughening the entire surface of a copper plate with a tool called a "rocker," creating a dense burr that, if inked, would print as a solid, rich black. The artist then works from dark to light by scraping and burnishing away the burr to create lighter tones and highlights. It is an incredibly laborious process, but one that yields exceptionally rich and velvety tonal effects. Short's revival of mezzotint for original landscape work was a significant contribution, showcasing its potential beyond its traditional use for portrait reproduction. His A Wintry Blast on the Stourbridge Canal or The Curfew, Rye are fine examples of his original mezzotints, demonstrating his control over the medium to create evocative scenes.
In etching, he favored a delicate, precise line, often combined with aquatint to create tonal washes that enhanced the atmospheric qualities of his scenes. Aquatint involves dusting the plate with powdered resin, which, when heated, adheres to the plate. The acid then bites around the resin particles, creating a pitted surface that holds ink and prints as a tone. By varying the density of the resin and the biting time, a range of tones can be achieved. Short used these techniques not for flashy effect, but to serve his artistic vision, always prioritizing the mood and atmosphere of the scene. His Nocturnes, influenced by both Turner and Whistler, demonstrate this fusion of techniques to capture the enigmatic beauty of twilight and night scenes.
Honours and Lasting Recognition
Frank Short's immense contributions to art and art education did not go unrecognized during his lifetime. The gold medals from the Paris Salon were early indicators of his international standing. Perhaps the most significant formal recognition came in 1911 when he was knighted by King George V for his services to engraving and his role at the Royal Academy, becoming Sir Frank Short. This honour underscored the importance of printmaking within the broader British art establishment and acknowledged Short's pivotal role in its advancement.
His works were, and continue to be, sought after by collectors and museums. Major institutions such as the British Museum and the Victoria and Albert Museum in London hold significant collections of his prints, providing a comprehensive overview of his career. His work is also represented in numerous other public collections worldwide, including the Yale Center for British Art in New Haven, Connecticut (which holds works like The Entrance of the Medway, 1896, from the Paul Mellon Collection), the Ashmolean Museum in Oxford, and the Minneapolis Institute of Art. Bryn Mawr College in Pennsylvania also holds examples of his work, such as the print Smugglers H 304. The Royal Academy of Arts itself, where he was so active, naturally preserves many of his pieces.
Legacy of a Quiet Master
Sir Frank Short passed away on April 22, 1945, in Ditchling, Sussex, leaving behind a rich legacy as an artist, educator, and advocate for the graphic arts. He was not a radical innovator in the modernist sense, but his profound impact lay in his mastery of traditional techniques, his role in reviving and refining them, and his dedication to passing on this knowledge to a new generation. He instilled in his students a respect for craftsmanship and a deep understanding of the expressive possibilities of printmaking.
His influence helped to ensure that British printmaking in the first half of the 20th century reached a level of technical excellence and artistic vitality that was admired internationally. He championed the print as an original work of art, distinct from painting but equal in its potential for artistic expression. Through his own beautiful and evocative prints, his influential teaching, and his leadership in key art institutions, Sir Frank Short secured his place as one of the most important figures in the history of British printmaking. His work continues to be admired for its technical brilliance, its subtle beauty, and its sensitive portrayal of the British landscape. He remains a benchmark for quality and integrity in the world of fine art prints.
