File:Engraving and etching - a handbook for the use of students and print collectors (1907) (14587558067).jpg

Identifier: engravingetching00lipp (find matches)
Title: Engraving and etching : a handbook for the use of students and print collectors
Year: 1907 (1900s)
Authors: Lippmann, Friedrich, 1839-1903 Lehrs, Max, 1855-1938 Hardie, Martin, 1875-1952
Subjects: Engraving -- History Etching -- History
Publisher: New York : C. Scribner's Sons
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
-, style of engraving. Innumerable prints, executed in the style of the LittleMasters during the first half of the sixteenth century inGermany, arc without signatures, or else bear monogramswhich it is impossible to interpret. Their numbers showhow widespread throughout Germany at this time wasthe appreciation of this kind of work and the ability toproduce it. DANIEL HOPFER 125 Once the example had been set by Diirer and Altdorfer,the art of etching gained an equally growing importance.Etching on iron was practised to a wide extent by theHopfer family of artists at Augsburg, three of whom—
Text Appearing After Image:
Fig. 57. Daniel Hopfer: Christ before Pilate_(detail). 126 ENGRxWING Ix\ GERMANY (1527—1600) Daniel (working at Augsburg from 1493, <^icd 1536),Hieronymus, and Lambert—managed a kind of picturemanufactory. Real artistic merit was of secondary im-portance in their eyes. With their broad and expressivetreatment of etching upon iron the Hopfers seem to haveopenly competed with the woodcut. Where Daniel Hopfershows more care in his execution he appears as an artistof no mean gifts, with a particularly sound appreciation ofItalian art. As a rule, however, he took particular pleasurein remodelling other artists compositions in his own coarsestyle, following German and Italian models indiscrimi-nately. Frequently he uses motives that he can only haveborrowed from Italian paintings. From Mantegnas frescoin the Chapel of S. Agostino agli Eremitani at Padua, St. James before the Judge, he reconstructs a Christ beforePilate(fig. 57). With more or less fidelity, but in a heavyand clumsy st

Note About Images