Dutch landscape etchers of the seventeenth century (Google eBook)

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Yale University Press, 1918 - Etchers, Dutch - 128 pages
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Page 109 - The Old Ships I HAVE seen old ships sail like swans asleep Beyond the village which men still call Tyre, With leaden age o'ercargoed, dipping deep For Famagusta and the hidden sun That rings black Cyprus with a lake of fire...
Page 54 - never succeeded in finding a quite satisfactory convention for foliage in etched line," but admits that "his continual feeling after truth of rendering, his sensitiveness, to which the forms of branch and leaf are always fresh and wonderful, make his work always interesting. One has only to turn to the facile etchers of sylvan scenery, Waterloo or Swanevelt, or Van der Cabel, to realize the difference between the man who feels what he cannot perfectly master and the man who has perfect mastery of...
Page 109 - It was so old a ship who knows, who knows? And yet so beautiful, I watched in vain To see the mast burst open with a rose, And the whole deck put on its leaves again.
Page 34 - In these etchings all is clear, intelligible; the silhouettes are indicated with perfect justice, and the effect is very frankly achieved in a few strokes. The first plate, dated 1653, and entitled The Shepherd, the Shepherdess and the Sheep (B. 17), still denotes some inexperience; the cow's legs are too long, her head is not lifelike, the landscape is awkwardly drawn, and not without some stiffness. But the following year, beginning with the Bullock and Cowherd (B. 1), he is already the master....
Page 55 - This is quite true, though we should not agree to calling The Three Oaks the very best of Ruysdael's work; but it should be remembered at the same time that strength and balance were by no means the qualities at which Ruysdael primarily aimed. What he sought, above all, was a truth and fidelity to nature to the externals of nature far more detailed and intimate than we find in Rembrandt, and of an entirely different order. Rembrandt, an intellectual giant, stood, we may say, boldly and...
Page 80 - ... the incident is meagre in its details, and permits us merely to guess at the condition of the young burgher artist, at the time. Jan did not remain long in Italy after his brother's death, but returned to Utrecht, where he is said to have endeavored to supply his artistic loss by having Poelenberg paint the figures in his landscapes. Both Jan and Andries etched. The latter produced some thirteen plates, all figure studies including the items enumerated in Weigel's supplement to Bartsch ...
Page 48 - Nationale. Paris, 1878. it is interesting to note the eliminations and readjustments to which he resorted in order to bring his main tree-mass just where he wanted it on the plate, and to give it salient relief. "With the exception of some works of his earliest period," writes Dr. Bode, "Ruysdael's landscapes are composed, and their inner construction carefully thought and pondered over.
Page 59 - Yet somehow it seems too closely observed, too faithfully and directly rendered, to be wholly fantastic. "If then," asks Mr. Binyon in his "Dutch Etchers of the Seventeenth Century," " it was actual scenery that Seghers etched, where is that scenery to be found? It is certainly not the Alps, and though one or two plates suggest the Tyrol, the landscape is most like in character to the Karst district on the eastern shores of the Adriatic. One of the etchings might almost stand for the rock-surrounded...
Page 59 - Bradley. The Print-Collector's Quarterly, February, 1917, p. 70. have visited one or the other, or both, and explored the "Hinterland." Or he might even have suffered shipwreck on the rocky Dalmatian or Albanian coast, in which case his experience would merely have paralleled that of Allardt van Everdingen, cast away on the coast of Norway. Seghers produced a large...
Page 55 - but let the student weigh his appreciation by comparing Ruysdael's Landscape with Three Large Oaks, of 1649, . . . which is the very best of his work, with any landscape etching by Rembrandt between 1640 and 1645. The enormous strength and balance of the latter comes out with renewed brilliance in the comparison.

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