File:Engraving and etching - a handbook for the use of students and print collectors (1907) (14770897201).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

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wherd. Several of the more important French painters of theseventeenth century used the etching-needle, but only afew of them attempted more than occasional experiments.The art of etching owed no real progress to them, for theylimited themselves to the simplest means of expressionand seldom aimed at any largeness of effect. Yet theiretchings, like genuine drawings, have all the importance ofauthentic work. One may mention the prints of CasparDughet, Laurent de la Hire, Francois Millet, SebastienBourdon, and others. Jaques Stella found a faithfulinterpreter in his sister, Claudine Baussonet Stella.Stefano della Bella (1610—1664), although of Italianorigin, worked principally in Paris, and may be includedin the French School. He was a vigorous draughtsman,who produced delicately handled little prints in themanner of Callot. In some of them, such as his View ofthe Pont Neuf, he approaches very near his master in thesuccessful distribution of a crowd of small figures. CLAUDE LORRAIN 199
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Claude Lorrain : The Cowherd. Of greater importance than their personal work in thefield of etching is the influence exercised by the Frenchpainters of this period on the art of line-engraving.Schools of enijravinrr came into existence round the 200 ENGRAVING IN FRANCE masters of painting in Paris, or under their direction, justas they grew around Raphael and Rubens. In France,however, the engravers were by no means in suchclose relationship to the painters studios as they werein the Rubens School. The tendency of French artwas towards the great historic style, and the engraversaccordingly devoted their talent to the reproduction ofthe classical compositions of Raphael and other Italianmasters of the sixteenth century. A prominent placein this kind of work was taken by Gerard Audran, themost gifted member of a family of engravers who for morethan a century worked along the same lines. Audran(born at Lyons 1640, died at Paris 1703) developed astrong and individual style, showing a unio

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