Weite Landschaft mit idealer rheinischer Burg (Wide landscape with an ideal Rhenish castle), Carl Theodor Reiffenstein, oil on canvas, 18 x 14 inches (45 x 36 cm)

This landscape painting by the 19th century German painter is a perfect example of counterchange — the reversal of value relationships between a shape or object and the background against which it’s set. In this case the dark against light at the top of the castle becomes light against dark in the center of the base.

See James Gurney’s excellent explanation of the principle in his 2008 post: Counterchange.

ˆ, also here, Théodore Rousseau, etching, two states; roughly 4 x 7″ (12 x 17 cm), in the collection of the National Gallery of Art, DC.

In this wonderful etching by the 19th century French painter we see a beautifully evocative view into the depths of the forest — likely the Forest of Fontinebleau, where he and the other members of the French Barbizon School spent much time painting and sketching on location.

The NGA collection contains example of the etching in two states; Both states are dated 1861. It’s not unusual for artists to print an edition of an etching, continue work or it and print again, possibly multiple times.

What I find confusing there is the apparent existence of prints in opposite directions. It seems unlikely that the National Gallery would allow a simple error, like a reversal of a photograph, in the presentation of their collection, but I don’t know how an etching could be physically printed in two directions. (Perhaps a fresh print could be used to make a second monoprint? I don’t know.)

The Dallas Museum of Art has a print of the darker state with the large oak to the left.