. Prints; a brief review of their technique and history . JAN BRUEGHELAntlioiiy van Dyck. GELLIUS UE BOUMACornel Vissclier THE NETIIKRIANDS effectively, as will be seen by this portraittaken from his fanions Icon()grai)]iy. ^The likeness is sketched with his character-istic sureness and ease upon the groundedcopper plate. The biting was doubtless leftto the engraver who was to finish the Rubens nor Van Dvck seems to havebeen interested in etching or engraving assuch; to them the graphic arts were excellentmeans of reproduction, nothing more. You will notice that the engraver hasb
. Prints; a brief review of their technique and history . JAN BRUEGHELAntlioiiy van Dyck. GELLIUS UE BOUMACornel Vissclier THE NETIIKRIANDS effectively, as will be seen by this portraittaken from his fanions Icon()grai)]iy. ^The likeness is sketched with his character-istic sureness and ease upon the groundedcopper plate. The biting was doubtless leftto the engraver who was to finish the Rubens nor Van Dvck seems to havebeen interested in etching or engraving assuch; to them the graphic arts were excellentmeans of reproduction, nothing more. You will notice that the engraver hasbegun liis work in fine, parallel lines, closetogether, in the upper corner of the print thus presents one aspect of the use— conjointly — of etching and engraving,which had then couk^ into universal exam])le of the combined use of thetwo processes, blended into a rich harmoni-ous tone, is the portrait of Gellius de Boiunaby one of the great portrait engravers ofthe seventeenth century, Cornel Visscher, an 1 A large series of portraits after Van Dyck, engraved
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectengravers
