Dutch Etchers Of The Seventeenth Century

Dutch Etchers of the Seventeenth Century is a beautifully illustrated study of Dutch etching, one of the most important art forms to emerge in the 17th century. With full-color reproductions of etchings by Rembrandt, Hollar, and other masters, along with insightful commentary by Laurence Binyon, this book is an essential addition to any art lover's library. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Dutch Etchers of the Seventeenth Century Yet, if Rembrandt is by far the greatest, others are great also. The following pages are designed to serve as a sort of introduction to the more notable among these etchers, in the same way that Mr. Hamerton's monograph, the first of the present series of the Portfolio, was intended as an introduction to the etched work of Rembrandt. And first, let us warn the reader who is familiar perhaps with masterpieces like the Christ Healing the Sick and Rembrandt Drawing at a Window, Clement de Jonghe, or The Three Trees, but who is not yet acquainted with the etchings of Ostade and Paul Potter, not to expect too much. Few of these lesser masters approach Rembrandt in the specific qualities of the etcher: he is beyond them all in draughtsmanship, far beyond them in the intensity of his imagination. Yet the best of them must rank high. It is his immensity of range which marks off Rembrandt, more even than his transcendent powers, from the rest of the Dutch etchers. Not only did his production exceed by far the most prolific among them, but he touched on almost every side of life. Yet he was not the school in epitome, as a hasty enthusiasm might affirm. With all his breadth of sympathy, his insatiable curiosity, he was not quite universal. The life of animals, the growth and beauty of trees, the motion of the sea-waves - none of these attracted Rembrandt deeply. And here, to supplement him, we have the work of men like Potter, Backhuysen, Ruisdael, each developing his peculiar vein. All of these etchers whom we have to consider are, however, independent of Rembrandt and his influence. The Rembrandt school has been expressly excluded from the present monograph. For, interesting as some of those artists are, the first thought suggested by their work is that it recalls Rembrandt: the second thought, that it is not Rembrandt. It is their relation to their master that interests us rather than any intrinsic excellence of their own. Only the independent masters, therefore, are exhibited here; and from these groups of etchers several of the greatest names in Dutch art are absent. Frans Hals, Jan Steen, Vermeer of Delft, Hobbema, De Hooch - none of these, so far as we know, has left a single plate. Adriaen Brouwer etched a few; but they afford only the slightest indications of his genius. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Heda's Banquet Piece, Frans Hals' Willem Coymans, and Rembrandt's Lucretia. Paintings by these and other masters attracted the American collectors P. A. B. Widener, his son Joseph, and Andrew W. Mellon, whose bequests form the heart of the National Gallery's distinguished and remarkably cohesive collection of ninety-one Dutch paintings.

Excerpt from The Etchings of Rembrandt, And, Dutch Etchers of the Seventeenth Century The systematic study of the works of a great etcher is seldom undertaken by lovers of art who are not led to it by the requirements of a critic or a collector, and yet this systematic study, though it may seem tedious to the amateur, and pedantic to the artist, and though it may be regarded with the most complete indifference by the public generally, has its own rewards to offer in the additional clearness which it imparts to the whole subject, and in the enhanced interest that every separate etching gains from being known in connection with the rest. This kind of study would be impossible for us without the help of the minutely detailed information that the zealous industry of catalogue makers has accumulated for our use. We are, indeed, infinitely their debtors, for without their labours of love, extending, in some cases, over many years, and rewarded only by the appreciation of the few who know all that such toil involves, the student could never gain a comprehensive View of the total production of a great artist. Even if he had access to a complete collection, it would be impossible for him to know that it was complete. I have just alluded to two methods in the arrangement of a catalogue, the chronological order and classification by subject. Even in a brief treatise like the present some definite system is necessary, and I have decided to adopt three systems, each for one part of my essay, which will keep them as distinct from each other as possible, both for the reader's convenience and my own. The first is chronological so as to connect the etchings, or many of them, with the inspiring and affecting story of Rembrandt's courageous and troubled existence. One of the great artist's biographers, M. Emile Michel, says that Rembrandt has himself almost invariably enlightened us as to the date of his works, but this. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.