. Engraving and etching : a handbook for the use of students and print collectors . onsideration as etchers, his closest follower was FerdinandBol (born at Dordrecht 1616, died at Amsterdam 1680),who took up etching at the stage to which his master hadbrought it between 1640 and 1650. Bels treatment in thenumerous portraits and studies of heads, which form theprincipal part of his work, seems too thin and loose ; andthis is certainly the case with his larger compositions, suchas Abrahams Sacrifice. His chiaroscuro is lacking inunity and power. A right judgment of Bol and ofRembrandts other pup
. Engraving and etching : a handbook for the use of students and print collectors . onsideration as etchers, his closest follower was FerdinandBol (born at Dordrecht 1616, died at Amsterdam 1680),who took up etching at the stage to which his master hadbrought it between 1640 and 1650. Bels treatment in thenumerous portraits and studies of heads, which form theprincipal part of his work, seems too thin and loose ; andthis is certainly the case with his larger compositions, suchas Abrahams Sacrifice. His chiaroscuro is lacking inunity and power. A right judgment of Bol and ofRembrandts other pupils is hindered by the circumstancethat their etchings challenge constant comparison withthose of their master. J. G. van Vliet (born about 1600 JAN LIEVENS 179 at Delft, died after 1631), who is known only as an etcher,and of the circumstances of whose Ufe we have no closerinformation, may be supposed to have become a pupil ofRembrandt soon after his removal to Amsterdam. Vlietswork amounts to ninety-two prints, showing carefulexecution, part of them being after compositions by. Fig. 84. Jan Lievens : The Philosopher (detail). Rembrandt, part of them original works in close adherenceto Rembrandts style. Not an immediate pupil ofRembrandt, but entirely dependent on his influence, isJan Lievens (born at Leyden 1607, died at Amsterdam1674), In his large Raising of Lazarus he affects withextraordinary success the style of Rembrandts first period ;his St. Jerome is a finely handled piece. His chief i8o ENGRAVING IN THE LOW COUNTRIES work, as was the case with Bol, lies in his etchings ofheads in the Rembrandt manner, Salomon Koninck wasanother particularly happy imitator of these same portraitsand sketch-heads. Gerbrandt van den Eeckhout in hisfew smoothly handled etchings is less akin to Rembrandtthan in his painting. Pieter de Grebbers coarse workbears only a surface resemblance to that of Rembrandt. The chief master of Flemish genre painting, Adriaenvan Ostade (Haarlem, 1610—1
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