Etching & Etchers

前表紙
Macmillan & Company, 1868 - 354 ページ
 

目次

III
1
IV
21
V
26
VI
30
VII
35
VIII
38
IX
41
XI
45
XLI
177
XLII
181
XLIII
186
XLIV
197
XLV
203
XLVI
209
XLVII
215
XLVIII
222

XII
48
XIII
51
XIV
54
XVI
57
XVII
59
XVIII
61
XIX
63
XX
67
XXII
69
XXIII
80
XXV
92
XXVI
95
XXVII
100
XXVIII
112
XXX
118
XXXI
133
XXXII
142
XXXIII
147
XXXIV
151
XXXV
157
XXXVI
158
XXXVII
166
XXXVIII
169
XL
171
XLIX
235
LI
237
LII
240
LIII
264
LIV
270
LV
276
LVI
280
LVII
288
LVIII
294
LIX
297
LXI
299
LXII
303
LXIII
306
LXIV
310
LXVI
311
LXVII
319
LXVIII
322
LXIX
329
LXX
332
LXXI
332
LXXII
339
LXXIII
341
LXXIV
342

他の版 - すべて表示

多く使われている語句

人気のある引用

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...

書誌情報