American art and American art collections; essays on artistic subjects . YAMATO. 416 AMERICAN ART. Tail-piece. — After Clennel. the line is his own, the Holy Family, page 65, theEmbargo, page 70, are but common cuts. Prob-ably his life through he was working for lowprices, and there was neither demand nor appre-ciation for better work. None the less, howeverexcused, he has to suffer the reproach of inferi-ority. It is an ungrateful task to pick out is part, though, of the critics duty. He hasto distinguish — let it be generously, yet truly —between the good and the bad, the better an
American art and American art collections; essays on artistic subjects . YAMATO. 416 AMERICAN ART. Tail-piece. — After Clennel. the line is his own, the Holy Family, page 65, theEmbargo, page 70, are but common cuts. Prob-ably his life through he was working for lowprices, and there was neither demand nor appre-ciation for better work. None the less, howeverexcused, he has to suffer the reproach of inferi-ority. It is an ungrateful task to pick out is part, though, of the critics duty. He hasto distinguish — let it be generously, yet truly —between the good and the bad, the better andthe worse. In truth, except within the limitation of hindering circumstances entitling him tocredit for overcoming so much of obstacle, a close study of all of Dr. Andersons engraving onwood that I have been able to get sight of fails to draw from me a recognition of his specialgenius as an engraver. Had his work been original, like Bewicks, it had, indeed, been great;but, practised as he was on metal, and with Bewicks work before him, one thinks that, with hisundoubted artistic feeling
Size: 2003px × 1247px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade18, booksubjectart, booksubjectartists
