. Prints; a brief review of their technique and history . fectsthat they can be appreciated only in en- 125 PRINTS gravers proofs. The relative position ofConstable and Turner, in English land-scape, has been, not inaptly, compared withthat of Van Dyck and Rubens in Flemishart. Certainly J. M. W. Turner was a sunin the English firmament, the painter of im-posing canvases and water-colors of haunt-ing loveliness; the leader likewise in astupendous development of landscape en-graving revealed in series like his Englandand Wales and his vignettes for RogersItaly among others of equal fame. Su-pre
. Prints; a brief review of their technique and history . fectsthat they can be appreciated only in en- 125 PRINTS gravers proofs. The relative position ofConstable and Turner, in English land-scape, has been, not inaptly, compared withthat of Van Dyck and Rubens in Flemishart. Certainly J. M. W. Turner was a sunin the English firmament, the painter of im-posing canvases and water-colors of haunt-ing loveliness; the leader likewise in astupendous development of landscape en-graving revealed in series like his Englandand Wales and his vignettes for RogersItaly among others of equal fame. Su-preme among his prints stands a set know^nas Liber Studiorum, undertaken in rivalrywith Claude Lorrain, whose memorandasketches of pictures painted constitute theLiber Veritatis, engraved subsequentlyin England by Earlom. In his Liber ^Turner proceeds to display his art in all itsversatility, engraving some of the plates A series of one hundred plates, seventy-one of whichwere published by the artist, then discontinued, becausefinancially unsuccessful. 126. OS -^i >^ a 05 .2 » CO a
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectengravers
