. Prints; a brief review of their technique and history . PRINTS their full measure of expressiveness. None ofthe uniform diagonal shading of early Italianmasters is found in these woodcuts; nor shallwe find such summary treatment in Durersengravings. If we turn to his Arms withthe Skull, for instance, we see there no meresuggestion of shadow, every line tells. Theoutline swells and accents the form, theshading-strokes curve and bend to accentthe rounding, the modeling of the figure; thequality, strength, tonality of the line varieswith every texture which is to be expressed,such as the metal
. Prints; a brief review of their technique and history . PRINTS their full measure of expressiveness. None ofthe uniform diagonal shading of early Italianmasters is found in these woodcuts; nor shallwe find such summary treatment in Durersengravings. If we turn to his Arms withthe Skull, for instance, we see there no meresuggestion of shadow, every line tells. Theoutline swells and accents the form, theshading-strokes curve and bend to accentthe rounding, the modeling of the figure; thequality, strength, tonality of the line varieswith every texture which is to be expressed,such as the metal of the helmet, the feath-ers on the crest, the cloth, the leather, thewood, the hair. The modest means of blacklines and white paper, which at first hadseemed barely sufficient for suggestive out-line and indications of the rounding of form,are now becoming a medium fit for the pres-entation of all the infinite phenomena ofvisible nature. From the large, predominantfigures massed in the immediate foregroundof early woodcut series like the Apocalypse, 62. ARMS WITH THE SKULLAlbreclit Durer
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectengravers
