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) (14596528880).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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de Moor, of Leyden(1656-1738), a pupil of Dou, whose few etched portraits possessa real distinction of manner. Technically, they stand midwaybetween the work of Rembrandt and that of Lievens and VanDyck. The portrait oi Jan van Goyen is a good example of hishappy combination of delicate etched line with dot and roulettework. The etchers of In Rembrandt the eye for the real things of life had been genre. tinged with idealism. His constant aim was to make the scenes of Scripture, which touch the whole gamut of human emotion at ^ After a Rembrandt picture in M. Wassermans coll., Paris, which Bode(No. 25) calls ^..j Father, and dates about 1630. - Etched in reverse after a picture of 1652 in the National Gallery (No. 679). FERDINAND BOL 187 its deepest, live again in the light of his own experience, settingthem in the surroundings of his own day. The perfect minghngof these two elements places him among the artists who may besaid to belong to no country, but to the world. The one side of
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Fig. 71.—Ferdinand Bol. Philosopher meditaiing. his art which is more essentially Dutch than any other, down-right realism and unaffected truth to nature, is followed upalmost without a single side issue in the school of genre, withOstade at its head, which gives us with unfaltering touch a fullpicture of the coarse and lusty peasant life in Holland during the i88 THE MASTERS OF ETCHING seventeenth century. The other half of the picture—life amongthe richer classes, which is reflected in the canvases of Ter Borchand Pieter de Hoogh—finds scarcely a representative in etching.Ostade. Adriaen VAN OsTADE, of Haarlem, was far more a painter than an etcher, but the plates which he has left all show a true apprecia-tion of the character of his medium. It is probable that, like manypainters, he set too low a value on his etchings, not troubling to putthem much into commerce during his lifetime.-^ This view wouldat least account for the rarity of early impressions, and it is only inthese

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