File:Madonna and Child, by Federico Barocci.jpg

Identifier: printsbriefrevie00rich (find matches)
Title: Prints; a brief review of their technique and history
Year: 1914 (1910s)
Authors: Richter, Emil Heinrich, 1869-
Subjects: Engraving -- History Engravers
Publisher: Boston, New York : Houghton Mifflin Company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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but the process 53 PRINTS came too late to share with engraving in thereflected glory of the grand Renaissance pe-riod. Etching is the medium used by Par-meggiano, Primaticcio, Guido Reni, andmany others, but they do not take thegraphic arts any more seriously than theirpredecessors in Italian art. Their platesare hasty experimental jottings, which showthat their main interest is centered on morepretentious conceptions; only rarely do theyattempt the picture-like elaboration whichwe find in this Madonna and Child. It isthe work of Federigo Barocci, certainly oneof the best painter-etchers of the period, andreveals to some extent the rich, effectiveaccents, the freshness and freedom of lineattainable in etching, which is to find suchsplendid exponents in the Netherlands. Itis well worth while, though not within thescope of this condensed review, to dallyamidst these sixteenth-century etchings, andthen, proceeding to a later period, to lingerover the powerful, direct presentations of 54
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^. :F-BVF MADONNA AND CHILD Federico Barocci ITALY Giuseppe Hibera and to glance at the figuresketches of Salvator Rosa. The eighteenthcentury brings us the spirited compositionsof the two Tiepolo, effective, with sharp,sparkhng play of light and shade, and An-tonio Canale (Canaletto), who makes us feelthe very breeze which blows, in his etch-ings, and the warmth of the sunshine whichbathes his Venetian views. What moredelightful glimpse of the Italian coast thanthis Torre di Malghera with the dazzlingwhite watch-tower and the exquisite, lumi-nous handling of sea, sky, and distance. Thesame eighteenth century witnesses an in-tense revival of activity in engraving. Thetechnical triumphs then achieved in Francestimulate Italian engravers, whose masteryof an elaborate technique is plentifully ex-emplified in the plates of Raphael Morghen,Volpato, Longhi, Toschi, and a number ofother well-known men in the large groupof classical engravers. Their energies andskill are mainly devoted to the

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