Etching & EtchersMacmillan & Company, 1868 - 354 ページ |
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acid Albert Durer amateur amongst Appian aquafortist artist asphaltum Bartsch beauty Berghem better biting Blanc Boissieu British Museum burin CHAPTER Charles Blanc chiaroscuro Claussin colour connoisseurs copies copper critic dabber dark Daubigny Delâtre delicacy delicate drawing dry-point English especially etched line Etching Club execution expression favour feeling finish foliage foreground FRANCIS SEYMOUR HADEN freedom French give Goya graphotype ground Haden hand illustrations imitation impression inches instance interest Jacquemart kind labour Lalanne landscape less light lithography manner manual master Méryon mezzotint modern nature necessary needle never noble observed Ostade painters painting paper Paris Paul Potter pen-drawing perfect picturesque plate pre-Raphaelite printing proof published pure etching reader Rembrandt rich Samuel Palmer shade sketch skill soft technical thick things tion tonality trees true etcher truth Turner turpentine varnish water-colour whilst Whistler wood engraving
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83 ページ - When he worked on paper, the broad washes were first given, and the pen-markings added at the last ; but when he worked on copper, the lines were etched first, and then the shades added by himself or another engraver. This reversal of method offered, of course, no difficulty whatever to Turner, who, having a perfect hold of his subject, could treat it in any way he liked ; and what I infer from his choice of this combination is, that Turner was not really anxious to produce etchings as etchings,...
178 ページ - Add to these qualities a certain freedom and spirit in his line, which served him well in near masses of foliage, and a singularly perfect tonality in one or two remarkable plates, and you have the grounds of his immortality as an etcher. He was great in this sense, but not great in range of intellectual perception, and his genius at the best is somewhat feminine.
140 ページ - Robert was blowing it, and up got the twa auld servingmen, and tottered into the room where the dead man lay. Hutcheon saw aneugh at the first glance; for there were torches in the room, which showed him the foul fiend, in his ain shape, sitting on the Laird's coffin ! Ower he cowped as if he had been dead.
188 ページ - ... deep burin lines across his inspired work, because no man regarded it; and when we remember that this took place in Paris, in our own enlightened nineteenth century, it makes us doubt whether, after all, we are much better than savages or barbarians.
187 ページ - Me>yon was sorely tried by public and national indifference, and in a moment of bitter discouragement he destroyed the most magnificent series of his plates. " When we think of the scores of mediocre engravers of all kinds, who, without one ray of imagination, live decently and contentedly by their trade, and then of this rare and sublime genius actually...
63 ページ - MOTIVES. motive of a picture is not so much material as spiritual. It is a certain condition of the mind, produced by the subject, and which the artist, in rendering that subject, desires to reproduce in the minds of spectators.
81 ページ - Turner was a first-rate etcher au trait, but he did not trust himself to carry out chiaroscuro in etching, and habitually resorted to mezzotint for his light and shade. His etchings were always done from the beginning with reference to the whole arrangement of the chiaroscuro, and he never laid a line with the needle without entire understanding of its utility in effect. But the effect itself, in Turner's etchings, is always reserved for mezzotint, and it results from this habit of his, that Turner...
102 ページ - Ruskin, and finding one of the best soft-ground etchings in the " Seven Lamps of Architecture," I thought the opportunity a good one for bringing my friend to admit some artistic capability in the etcher. To my great surprise, he entirely agreed in all I had to say in favour of the plate ; but when I came to the conclusion, and congratulated my friend on having overcome his prejudices against the author of the " Seven Lamps," he answered me with the following syllogism : " A man ignorant of art cannot...
298 ページ - MARTIN HARDIE NATIONAL ART LIBRARY VICTORIA AND ALBERT MUSEUM, SW ' READERS may think that Processes do not concern them, and so skip this part of the book. But the truth is, that Processes concern every one who cares about art, or ever talks about it No one can speak with justice of the merits of any artist unless he clearly understands, and always takes into consideration, the technical conditions under which the artist has worked. It is true that there exists on the part of the public an impatience...
139 ページ - This pleasant tale was so well adapted to the genius of Cruikshank, that it has suggested one of the very best of all his etchings. The two Elves, especially the nearer one, who is putting on his breeches, are drawn with a point at once so precise and vivacious, so full of keen fun and inimitably happy invention, that I have not found their...