File:A short history of engraving (and) etching - for the use of collectors and students; with full bibliography, classified list and index of engravers (1908) (14780119281).jpg

Identifier: shorthistoryofen00hinduoft (find matches)
Title: A short history of engraving (and) etching : for the use of collectors and students; with full bibliography, classified list and index of engravers
Year: 1908 (1900s)
Authors: Hind, Arthur Mayger, 1880-1957
Subjects: Engravers Engraving Etchers Etching
Publisher: London : A. Constable
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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etcher of marines could inspire.Zeemans views of Amsterdam and Paris (of which one is repro-duced. Fig. 75)^ are among the most charming etchings of archi-tecture that exist, and definitely prepared the way for the mostremarkable of all of their type, those of Meryon. The Eaux-fortes.y«(f/-Tam were issued in three livraisons between 1852 and 1854,some two years after he had left Blerys studio, and most of his bestplates of Paris, not included in this set, fall within the next two orthree years. From 1S58 the signs of the affliction which attackedhim were already present, and the curious vagaries of imaginationwhich disfigure certain states of some of his etchings (e.g. the ^ Meryon is known to have etched a portrait of his master, but an impression isstill to be found. - Four of Zeemans plates of the same order were copied by Meryon, De. 9-12. 320 MODERN ETCHING Toiirclle, Rue de TEcole de Medecme, De. 41, and Le Font anChange, De. 34) may here find their natural explanation. In his
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Fig. 108.—Charles Meryon. Rue des Toiles, Bourges. life he was haunted by suspicions even of his few friends, and thesame spirit is embodied in his plates, where stone walls seem THE ETCHERS OF PARIS 321 peopled with lurking eyes. His style, where the line has thehighest measure of decision and strength, often tends less to a realisticinterpretation of nature than to a decorative convention, which is wellexemplified in the Rue des Toiles, Bourges (De. 55, Fig. 108). Inhis finest work, however, the merely decorative element is less pro-minent, from the forceful simplicity of the Rue des Mauvais Garcotis(De. 27) to the magnificently elaborated plate LAbside de NotreDame (De. 38). Perhaps both of these extremes yield in qualityto plates like the St. Etienne du Mont (De. 30) and La Morgue(De. 36), where the powerful contrast of light and shade, which ischaracteristic of his work, is combined with his incisive draughts-manship at its best. A host of artists followed Meryon in etching vie

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