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) (14596710837).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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o, with Nanteuil ^ The date of his birth is much disputed : 1623 has the greatest claim to correctness, but 1625, 1630, even 1618, have been put forward. - Some prints date three or four years earher, while he was still studying for the law in the Jesuit College at Reims. Nicolas Regnesson of Rheims was his firstmaster in engraving. • His work was chiefly rnedallic illustration for La France Mtfallique, with theJ^rais Portraits des Rois de France, Paris, 1634. According to Kranim the second edition (1636) contains a biographical notice which calls him le niaitre des plusc^lebres gravenrs de Rubens. Except for the fact that he undoubtedly had relationswith Rubens in 1611, there is nothing in his life or Nvork to support so great a claim.He was a pupil of Adriaen Collaert. ■* It is doubtful whether either was in Paris before 165 s. GERARD EDELINCK 147 and Masson, forms the great triumvirate of the best period of Frenchportrait. Edehnck did less original work than Nanteuil, and largely
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Fig. -Robert Nanteuil. Portrait of C^sar DEstr^es. reproduced paintings of Le Brun, Philippe de Champaigne, andRigaud. Of his portraits one might particularly mention the RobeiiNanteuil (after the masters own drawing), the Philippe de Cham-paigne (of 1676), the Dry den (after Kneller), and Charles Le Bnin 148 THE GREAT PORTRAIT ENGRAVERS (after Largilliere). Always brilliant and seldom dry in manner, hejust fails of that contained and calm forcefulness which makesNanteuils work so convincingly great. He did more subject plates (after the old masters, Lebrun, etc.)than most of the portraitists, but the somewhat overdrawn sentimentof Lebrun (whom he largely reproduced) contributes much to divertthe interest of the modern amateur from the sound work of theengraver.Antoine Antoine Masson (b. 1636) is by far the least prolific of the Masson. g^.^^^ triumvirate, but in the quality of his work, which is almost entirely portrait, he is the more serious rival of Nanteuils fame.He started as an

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