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) (14782872622).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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l of portrait. Hisfame stands on the most solid foundation. We can well believethe testimony of his contemporaries to the excellence of hisplates, which to a large extent are from his own drawings,-in point of likeness. At its best his work possesses a nobledirectness of expression and a complete freedom from all theattractive mannerisms by which a spurious reputation is so lightlygained. In the setting of his portraits he followed the lead of VanDycks engravers. For the most part he adopted a simple ovalframework resting on an architectural plinth, and produced in this ^ See Chapter VI. p. i6i. ^ He also did portrait drawings and pastels for their own sake. The bestcollection of such is in the Louvre. MORIN—Nx\NTEUIL M5 form his most perfect and balanced portraits, e.g. the Basile Fouqjiet(1658), and the Cesar DEstrees of 1660 (Fig. 55). Occasionallythe oval is encircled in a wreath tied at the head with ribbons (e.g.the Queen Christina of Sioeden of 1654), while in his latest work
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Fig. 54.—Jean Moriii. Portrait of Cardinal Hentivoglio, after Van Dyck. (i.e. from about 1670) he tends to disregard the plinth entirely (e.g.Simon Arnaidd de Pomponne of 1675 and Guillaiime de Lavioignonof 1676), and not often spoils the balance of the print by the unduesize of the head in relation to the space to be filled. On a sound basis of convention, with a fund ot real geniusto aid him, Nanteuil gradually built up the structure of his style. L 146 THE GREAT PORTRAIT ENGRAVERS -Flemishnigra vers inranee :\i. Tavern ier.facob de Bie.r^ieter van■<chuppen.Sicolas Pit.iul jerard Edelinck. His early ^ work (in Paris from about 1648)- shows Mellan to havebeen his model, and his pupillage in Paris under another exponentof the same lineal manner, Abraham Bosse, no doubt strengthenedthe tendency, which is seen at its best just before he discarded itfor good (e.^t:;: in the Zoms Hesselin of 165S). His later develop-ment (which is beginning to appear as early as 1654, e.g. QueenChr

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