. Prints; a brief review of their technique and history . ^ w *-i ?M > ,* & ti tf ^ H o M a 2 3bo 3. WOMAN CHURNINGJ. F. Millet THE NINETEENTH CENTURY the joyous, carousing, merry being of Os-tades fancy. In the plates of Millet andJacque we see him at his daily labors andthe woman at her household tasks, as inthe Woman Churning, by Jean FrangoisMillet, drawn in sober, telling lines, andevoking by some subtle magic a sense notonly of the scene before us, but of her sur-roundings and her whole labor-laden life. We must pass with a mention even suchmasters as Corot and Daubigny, both ofwhom h
. Prints; a brief review of their technique and history . ^ w *-i ?M > ,* & ti tf ^ H o M a 2 3bo 3. WOMAN CHURNINGJ. F. Millet THE NINETEENTH CENTURY the joyous, carousing, merry being of Os-tades fancy. In the plates of Millet andJacque we see him at his daily labors andthe woman at her household tasks, as inthe Woman Churning, by Jean FrangoisMillet, drawn in sober, telling lines, andevoking by some subtle magic a sense notonly of the scene before us, but of her sur-roundings and her whole labor-laden life. We must pass with a mention even suchmasters as Corot and Daubigny, both ofwhom have left us spirited examples, in etch-ing, of their masterly interpretation of na-ture. The period we now reach brings aflood of etching, and it is but natural thatthe sketchy freedom, the suggestivenesssought by this new school, should conflictwith the set, time-honored traditions of en-graving. That serious old gentleman — En-graving — did not approve of the rollickingyoungster who knocked at the gates of theAcademy and the Institut for battle, after all, was not so much a 131
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