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) (14760212596).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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^ IC OGVLO^ IvSrC^ ILLE ? GENAJ * SIO -ORA^ FEREBAT ? ■Anno ETArisssvE^yi^i^s ■■ j\\ ■ D ■ >c • I • x: ♦ Fig. 30.—Albrecht Diirer. Portrait of Albrecht of Brandenburg. sion of personality, it is in the Melancthon (1526), vphich is thesimplest of all in its technical structure and secondary ornament.Besides his line-engravings, Diirer has left us a few dry-points DURERS DRY-POINTS 79 and etchings. Of the three ^ dry-points two are dated, both in 1512 The dry-—a Man of Sorrows (B. 21) and the magnificent St. Jerojiie (B. 59, points.Fig. 31). A large Holy Family (B. 43), not dated, but certainlybelonging to the same period, is less successful. In the St. Jeromethe value of the burr of dry-point is so completely realised that one
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Fig. 31.—Albrecht Diirer. St. Jerome in the Wilderness. wonders that Diirer did not recur to the method later. The mostpractical explanation might be the right one, that the few goodimpressions that could be taken would not repay him for his labour,at a time when a single impression of an engraving was probablysold for a small price, and before the public had realised the special ^ There are good reasons to think that the little 5/. Veronica (B. 64), dated 1510,(of which the only impressions are in Dresden and the Albertina), is a later fabrication. 8o THE GREAT MASTERS OF ENGRAVING The etchings. (jeneral char-acteristics ofDlirers art. artistic value and the limitations of the new method. After Diirerwe find dry-point practised very little, and never with any apprecia-tion of its possibilities, until the time of Rembrandt. Diirer was one of the pioneers of the art of etching. A plate byUrs Graf ^ is dated 1513, i.e. two years before any of Diirers etchedplates ; but this is an inte

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