. Prints; a brief review of their technique and history . e 77 PRINTS problem of expressing color, as well asform, now enters more and more into thesphere of engraving; a problem much moredifficult than would appear at first is the task which faces the engraver:he must keep true to the original he repro-duces, true in form, true in color values, bya judicious gradation of tone. At the sametime he must strive to make his plate inter-esting, spirited, brilliant, and apparentlyeasy and free in handling. Singly these qual-ities are not uncommon, but that engraver isfar from common, wh
. Prints; a brief review of their technique and history . e 77 PRINTS problem of expressing color, as well asform, now enters more and more into thesphere of engraving; a problem much moredifficult than would appear at first is the task which faces the engraver:he must keep true to the original he repro-duces, true in form, true in color values, bya judicious gradation of tone. At the sametime he must strive to make his plate inter-esting, spirited, brilliant, and apparentlyeasy and free in handling. Singly these qual-ities are not uncommon, but that engraver isfar from common, who, having the power todo such l)rilliant work, has moreover the wishand abilitv to efface himself, and let onlv theartist speak, whose work he interprets. It isa claim to distinction for many engravers ofthe Rubens grouj) that they came so near tosolving this problem. Whether or not Ru-bens made use of the etching-needle himselfremains a matter for speculation; there isno doubt, however, that his great pupil —Anthony van Dyck — used etching ^ ery 78. JAN BRUEGHELAntlioiiy van Dyck
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Keywords: ., bookcentury1900, bookdecade1910, bookpublis, booksubjectengravers
