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) (14760261346).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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e reproduction of drawings the archaeologist^ and amateur:production CouNT Cavlus was by far the most prolific worker of the time.Some three thousand etchings and engravings after drawings in theRoyal and private collections of France are from his hand, and thoughscarcely true enough in reproduction to satisfy the modern student,they at least form a most valuable record of scattered works. Theetchings which he contributed to the Cabinet Crozat^ (1729) are ^ The collections of Vienna formed its chief groundwork, though Paris andnumerous German collections must have also contributed. ^ See pp. 200-1, and notes. ^ His great work in this capacity is the Reciieil dAiitiquitis, 7 vols., Paris, 1752-67 (the plates by himself). ■* Cf. Chap. VII. p. 202. ntomeIatteau. F drawings. WATTEAU—BOUCHER—CAYLUS 249 in many cases combined with tone printed from several wood-blocksin the chiaroscuro method by Nicolas Le Sueur.^ Charles Two pupils of the painter Lemoyne, Charles Natoire and Natoire.
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Fig. 92.—Fran9ois Boucher. Study of a Womans Head, after Watteau. Charles Hutin,- approach Bouchers light manner most nearly in Charles Hutin. ^ Cf. Chap. IX. p. 310. A similar combination occurs in the title-page to Caylusscollection of etchings after Leonardo da Vinci (Rccueil de Testes de Caractcres et deCharges, 1730). ^ C. H. settled in Dresden in the latter part of his life. 250 ETCHING IN 18th AND EARLY 19th CENTURIES H.agonard. le amateurs. arquise deimpadour. vant Denoii, their etchings of figure and fancy, while an even more exquisiterefinement of hght and line is seen in the slighter studies ofBouchers pupil Jean Honore Fragonard. Fragonard stands asthe chief French representative of the rococo love for white lights,and in his etching follows the aims of Tiepolo, with a reminiscenceof Baroccios system of light line and dot. Unfortunately the best painters of the time, like Fragonardhimself, treated etching more as a plaything than a serious branchof their art. It was the

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