The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing
The book The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing was written by author Holme, Charles, 1848-1923 Here you can read free online of The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing book, rate and share your impressions in comments. If you don't know what to write, just answer the question: Why is The Graphic Arts of Great Britain; Drawing, Line-Engraving, Etching, Mezzotint, Aquatint, Lithography, Woodengraving, Colour-Printing a good or bad book?
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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.
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