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) (14780854904).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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Fig. 35.—Lucas van Leyden. The Milkmaid. allegorical subjects (e.g. the series of the seven Virtues). The latestof his productions, the large Adam and Eve., and the Lot and hisDaughters (1530), sulifice to show how greatly his individualitysuffers beneath this classical bombast.His etchings. Like Diirer, Lucas made a few attempts in etching, and at least succeeded in producing a more delicate line than the Nurembergmaster. The Foot and the Girl and the David in Prayer (1520)are examples in pure etching, while the Portrait of Maximilian ofthe same year shows a successful medley of the two processes,the face being entirely done with the graver, while most of thesecondary work is etched. Lucas van Leyden was not the founder of a school. That evenhe should have veered round from the front that might have made DIRICK VELLERT 89 one, is witness to the overwhelming tide in the classical directionwhich for a century successfully hindered the natural development ofart in the Netherlands.
Text Appearing After Image:
Fig. 36.—Lucas van Leyden. David playing before Saul. His closest follower was perhaps Dirick Vellert of Antwerp. Uirick VeiienBut though an engraver too, his constant use of etching, either aloneor in combination with the burin work, justifies his place in thechapter that follows. 9° THE GREAT MASTERS OF ENGRAVING Jan (jossaert(Mabuse). Bernacrt vanOrley. The Masterof theCrayfish. The Master S. Allart Claesz. CornelisMatsys. LambertSuavius. More potent leaders of style in the first half of the century were thepainters Quentin Matsys, Jan Gossaert (Mabuse), and Bernaert vanOrley. To Mabuse, with whose manner Lucas van Leyden had muchin common, have been attributed three engravings (two Aladonnassigned IMS, one dated 1522, and, with even less certainty, a Mock-ing of Christ, in Paris); and Bernaert van Orley has sometimes beenheld responsible for a roughly executed etching of 1531, with anepitaph on Margaret of Austria. But these attributions are too pre-carious, and it is as inspir

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