The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing
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In our eReader you can find the full English version of the book. Read The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing
What reading level is The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing book?
To quickly assess the difficulty of the text, read a short excerpt:
The plates of the early mezzotinters are tech- nically interesting from the various devices employed to produce the roughened surface, or " ground," that should hold the ink for printing.
They would use rollers, roulettes, files, and what not, and they even fell back upon etching and dry-point for putting in shadows ; but it was not until the accomplished Dutch engraver, Abraham Blooteling, invented the tool with its sharp teeth, known as the "rocker," for making a uniform " ground " upon the p...late, that the technique of mezzotint was definitely established. This was about 1 672, and a notable succession of English and Irish engravers, with the brilliant John Smith at their head, practised the method for translating to copper from the canvases of Lely, Kneller, Wissing, and the other fashionable painters of the period, the portraiture of all the contemporary notabilities and notorie- ties. So, from the first, mezzotint was regarded as a reproductive, rather than a creative, method.
True, there were no landscape-painters in England at that time, nor any graphic artists of imaginative genius to recognize the capacity of mez- zotint, with its rich tonal resources, for the expression of original pic- torial conceptions.
What to read after The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing?
You can find similar books in the "Read Also" column, or choose other free books by Holme, Charles, 1848-1923 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
The plates of the early mezzotinters are tech- nically interesting from the various devices employed to produce the roughened surface, or " ground," that should hold the ink for printing.
They would use rollers, roulettes, files, and what not, and they even fell back upon etching and dry-point for putting in shadows ; but it was not until the accomplished Dutch engraver, Abraham Blooteling, invented the tool with its sharp teeth, known as the "rocker," for making a uniform " ground " upon the p...late, that the technique of mezzotint was definitely established. This was about 1 672, and a notable succession of English and Irish engravers, with the brilliant John Smith at their head, practised the method for translating to copper from the canvases of Lely, Kneller, Wissing, and the other fashionable painters of the period, the portraiture of all the contemporary notabilities and notorie- ties. So, from the first, mezzotint was regarded as a reproductive, rather than a creative, method.
True, there were no landscape-painters in England at that time, nor any graphic artists of imaginative genius to recognize the capacity of mez- zotint, with its rich tonal resources, for the expression of original pic- torial conceptions.
What to read after The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing?
You can find similar books in the "Read Also" column, or choose other free books by Holme, Charles, 1848-1923 to read onlineMoreLess
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