. Engraving and etching : a handbook for the use of students and print collectors . ck, andthat of the printer, Vitre. By no one was the influence ofthe engraving of the Low Countries brought to bear onFrench art with greater success than by Gerard Edelinck,of Antwerp (born 1640, died in Paris 1707). He was apupil of Cornelius Galle, and absorbed also from Poilly GERARD EDELINCK 203 something of French elegance of execution. His innatetalent, and the element in him of northern style, enabledhim to surpass his Paris contemporaries in vig(jur of drawingand freshness of conception. Edelinck is ri
. Engraving and etching : a handbook for the use of students and print collectors . ck, andthat of the printer, Vitre. By no one was the influence ofthe engraving of the Low Countries brought to bear onFrench art with greater success than by Gerard Edelinck,of Antwerp (born 1640, died in Paris 1707). He was apupil of Cornelius Galle, and absorbed also from Poilly GERARD EDELINCK 203 something of French elegance of execution. His innatetalent, and the element in him of northern style, enabledhim to surpass his Paris contemporaries in vig(jur of drawingand freshness of conception. Edelinck is rightly classedamong the greatest masters of the burin. He seems tohave quickly reached the height of his power, and to have. mm. Fig. 94. Gerard Edelinck : The Penitent Magdalen after Lebrun (detail). maintained his skill without any visible weakening through-out his life, in the course of which he produced almost fourhundred plates. Among the engravings, some of themvery large in size, which Edelinck executed after the OldMasters, the best known are The Holy Family afterRaphael, and the Knights Fighting of Leonardo, from acopy of Rubens, particularly valuable as the single existing 204 ENGRAVING IN FRANCE record of at least one portion of a lost original. Edelincksstyle lent itself more readily to the interpretation of thework of Lebrun than to the reproduction of Old Masters,and Lebruns Family of Darius and Penitent Magdalen (fig. 94) were translated by him into masterpieces of sym-pathetic engraving. His fame, however, rests especially onhis portraits after Philippe de Champagne, Largilliere,Rigaud, Lebrun, and after his own drawings. Fine percep-tion of form, harmony, and compactness of execution,powerf
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