Editing Aquatint (section)

===Revival===
[[File:Mary Cassatt - Woman Bathing.jpg|thumb|[[Mary Cassatt]], ''Woman Bathing'', [[drypoint]] and aquatint, from three plates, 1890–91]]
After a period of several decades in the central 19th century when the technique was little used, and definitively superseded for commercial uses,<ref>Mayor, 612–614</ref> it was revived near the end of the century in France, by [[Édouard Manet]], [[Félicien Rops]], [[Degas]], [[Pissarro]], [[Jacques Villon]] and other artists.<ref>Griffiths, 94</ref> In 1891, [[Mary Cassatt]], based in Paris, exhibited a series of highly original coloured drypoint and aquatint prints, including ''Woman Bathing'' and ''The Coiffure'', inspired by an exhibition of [[Japanese woodblock print]]s shown there the year before.  These used multiple blocks for the different colours.  Cassatt was attracted to the simplicity and clarity of Japanese design, and the skillful use of blocks of colour. In her interpretation, she used primarily light, delicate pastel colours and avoided black (a "forbidden" colour among the Impressionists).

It continued to be used in the 20th century, with the Czech [[T. F. Šimon]] and the German [[Johnny Friedlaender]] notably frequent users.  In the United States the printmaker [[Pedro Joseph de Lemos]] popularized aquatints in art schools with his publications (1919–1940), which simplified the cumbersome techniques, and with traveling exhibitions of his award-winning prints.<ref name="edwardsrw">{{cite book|last1=Edwards|first1=Robert W.| title=Pedro de Lemos, Lasting Impressions: Works on Paper| date=2015|publisher=Davis Publications Inc.| location=Worcester, Mass.|isbn=9781615284054|pages=67, 91 notes 355–357}}</ref>