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) (14780873844).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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their work by a liberal mixture of etching, so Dorignyand his followers seemed, on their side, bent on endowing the etchedline with a regularity which should more properly belong to thecharacter of line-engraving. In the school of Rubens, where the masters aim was the Tiie Rubensmarketable and magnificent reproduction of his own works,- little School. from 1629 to 1635 in Rome, and is likely to have had sound basis for his notice inthe Teiitscke Academie) makes more of his etched work than is warranted by whatis known. Elsheimers chief interpreters in etching and engraving are Jan van deVelde and Hendrik Goudt. 1 Perhaps, as Seymour Haden (About Etching) suggested, he may in places haveroughened the plate with pumice-stone and scraped out the lines of light (in essentialsa rough attempt at mezzotint). - See Chap. IV. pp. 126-8. 164 THE MASTERS OF ETCHING encouragement was given to etching. A (ew etchings are attributedto Rubens himself, three with some show of reason, a St Catheritie
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Fig. 61.—Claude Lorraiii. Peasants dancing under the Trees (part). iti the Clouds, an Old Woman and a Boy with Candles, and a Bustof Seneca. The first, which is the most powerful work of the three, is signedin its second state P. Paul Rubens fecit. In composition it corre-sponds to one of the ceiling paintings done by Rubens for the RUBENS SCHOOL—VAN UDEN 165 Jesuits church at Antwerp in 1620,^ a fact not entirely favourableto the originality of the etching. In respect of the second,- even ifthere is the etching of the master at the base, it is concealed in thedry elaboration of another hand. The bust of Seneca, which inits early etched state (before Vorstermans elaboration) is only knownto exist in the British Museum, is by no means a brilliant piece ofwork, but is at least sufficiently near to Rubenss draughtsmanshipto render definite rejection unwarranted.^ A small number of etchings (some dated 1652) have been Jacobattributed to Rubenss younger contemporary, Jacob Jordaens, bu

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