Prints And Their Makers Essays On Engravers And Etchers Old And Modern
Prints And Their Makers Essays On Engravers And Etchers Old And Modern
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Another long oblong of perhaps greater beauty is the Gold-weigher's Field of 1651 (B. 234) . This is all 106 FEINTS AND THEIE MAKEES air and sun and space, the etched lines light and open, with dry-point adding a kind of gleam and vibration to the fertile fields. It is a revelation of what a great artist can do, unaided by tone or color, with a scene that to the average eye would be tame enough. There is a sense, too, of the riches of the earth, the farmer's pride in broad acres and growing cro...ps, which gives a human touch, never absent from Rembrandt's work. In contrast with this is another plate of the previous year the Three Gabled Cottages (B. 217) where the dry-point is freely used to give color and softness to the thatched roofs, checkered with the shadow of an old tree. But it is the gratefulness of shadow in the noonday, not its gloom, which is the motive of the etching. The last group of landscapes are in pure dry-point. It is interesting to compare one of the earlier bitten plates with the Road by the Canal (B.
What to read after Prints And Their Makers Essays On Engravers And Etchers Old And Modern?
You can find similar books in the "Read Also" column, or choose other free books by Fitz Roy Carrington to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Another long oblong of perhaps greater beauty is the Gold-weigher's Field of 1651 (B. 234) . This is all 106 FEINTS AND THEIE MAKEES air and sun and space, the etched lines light and open, with dry-point adding a kind of gleam and vibration to the fertile fields. It is a revelation of what a great artist can do, unaided by tone or color, with a scene that to the average eye would be tame enough. There is a sense, too, of the riches of the earth, the farmer's pride in broad acres and growing cro...ps, which gives a human touch, never absent from Rembrandt's work. In contrast with this is another plate of the previous year the Three Gabled Cottages (B. 217) where the dry-point is freely used to give color and softness to the thatched roofs, checkered with the shadow of an old tree. But it is the gratefulness of shadow in the noonday, not its gloom, which is the motive of the etching. The last group of landscapes are in pure dry-point. It is interesting to compare one of the earlier bitten plates with the Road by the Canal (B.
What to read after Prints And Their Makers Essays On Engravers And Etchers Old And Modern?
You can find similar books in the "Read Also" column, or choose other free books by Fitz Roy Carrington to read onlineMoreLess
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