. Engraving and etching : a handbook for the use of students and print collectors . urg. Both as painter and asetcher Jan Both (Utrecht, 1610—1652) is the most distin-guished of the Dutch artists who pictured idealistic subjectsbased on Italian scenery. With great executive skill, andyet with the utmost simplicity of means, he produces charm-ing effects in his sunny landscapes (fig. 88). Jan Bothspupil, Wilhem de Heusch (Utrecht, 1638—1669?) comesvery close to his master in his best work. Andries Both,Jan Boths brother, etched scenes of Italian peasant life,but frequently showed himself a clum
. Engraving and etching : a handbook for the use of students and print collectors . urg. Both as painter and asetcher Jan Both (Utrecht, 1610—1652) is the most distin-guished of the Dutch artists who pictured idealistic subjectsbased on Italian scenery. With great executive skill, andyet with the utmost simplicity of means, he produces charm-ing effects in his sunny landscapes (fig. 88). Jan Bothspupil, Wilhem de Heusch (Utrecht, 1638—1669?) comesvery close to his master in his best work. Andries Both,Jan Boths brother, etched scenes of Italian peasant life,but frequently showed himself a clumsy van Swanevelt (born at Woerdek about 1600,died at Rome 1655) inclines at times to the style of JanBoth, at times to that of Claude Lorrain, placing biblicaland mythological subjects in a background of classicallandscape. Jan van Ossenbeeck (born at Rotterdam1627 ?, died at Rcgensburg 1678) appears also as anetcher of Italian landscapes and mountain scenes. Some-what akin to him is Adriaen van der Kabel. At the close of the seventeenth century and at the. Fig. 88. Jan : Landscape (detail).i8S ROMEYN DE HOOGHE 189 beginning of the eighteenth, the Italianised landscapistsof the Dutch School began to depart from the truth andfreshness of conception which had brought their native artto the summit of its success. Instead of pictures based onan intimate study of nature, we find a growing tendencytowards the production of classical landscapes deliberatelycomposed from reminiscences of Titian, Claude, and is shown in the etchings of Abraham Genoels (Ant-werp, 1640—1723) and Jan Glauber (Utrecht, 1646—1726).Etching shared with Dutch painting its fate of gradualdecline. A pleasant break in its monotony is caused bythe appearance of a fertile and inventive illustrator inthe person of Jan Luiken (Amsterdam, 1649—1712), whoproduced a quantity of successful, though somewhat rigidand mannered, work. Another prolific worker is Romeynde Hooghe
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