“The drawing is extraordinarily complex, using edge as line,” wrote Jane Lee on Louis Marcoussis’ etching and aquatint Cithare et Coquillage in Print Quarterly vol. IX, March 1992. “The whole object is made of nothing more substantial than the distinct luminosity of various planes,” she continues, “it might dissolve at any moment into a seductive play of transparency, were it not bound by the knot of the sound-hole and loosely confined by the fine net of drawing thrown over its surface.” An important artist of the Cubist circle, Cithare et Coquillage remains Marcoussis' most significant print. Printed in a small edition of 20, this etching and aquatint elegantly makes use of line, paper, and ink: richly defining surface and creating depth.