. Prints; a brief review of their technique and history . er of animals. PaulPotter, we must turn now to Nicolas Berg-hem, who combines animal life with land-scape. In his masterpiece, kncnvn as the 85 PRINTS Diamond, there is apparent the closestudy of nature, cliaracteristic of the period,also much clever mise en scene, but as weexamine the plate more closely, we realizethe admixtm-e of Italian inspiration. Thevigor of home influences is weakening, andthe art of the South again asserts itself as weapproach the eighteenth century. The sameSouthern influence pervades the landscapesof Jan Both;
. Prints; a brief review of their technique and history . er of animals. PaulPotter, we must turn now to Nicolas Berg-hem, who combines animal life with land-scape. In his masterpiece, kncnvn as the 85 PRINTS Diamond, there is apparent the closestudy of nature, cliaracteristic of the period,also much clever mise en scene, but as weexamine the plate more closely, we realizethe admixtm-e of Italian inspiration. Thevigor of home influences is weakening, andthe art of the South again asserts itself as weapproach the eighteenth century. The sameSouthern influence pervades the landscapesof Jan Both; they are very pleasing, tech-nically fine, but the evil which creeps intoDutch art is quite evident here. The ideallandscape of Titian, Poussin, and ClaudeLorrain gradually warps the former frankrealistic rendering of nature; elegance, hol-low display gradually take the place of thegood, wholesome naturalness of Dutch the advent of the eighteenth cen-tury, painting and the graphic arts declineto levels which we may pass by in this « a o •a s < m »H Q « rt L^ ^ B o H ?; VII FRANCE Having considered the fate of the graphicarts in Italy, Germany, and the Netherlands,onr attention must dwell for a while on de-velopments of the printed picture in each of the countries above mentioned,we have witnessed a definite era of excel-lence in the sphere of prints; in Germanyand in Italy, this zenith was reached in thelate fifteenth and early sixteenth the Netherlands, as we have just seen, thegreat aw akening took place fully a centurylater. In this same seventeenth century,tow^ard its close, as art declines in the LowCountries, French engraving rises to itshighest perfection. We needs must deal hrieflv with earlvFrench productions in relief and intaglioprocesses. Woodcut first: some few exam-ples of early plang-cards which have sur- 87 PRINTS vived destruction to tliese days, prove thetrade of the card-printer to have fioiuishedin Franc
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectengravers
