Engraving and etching : a handbook for the use of students and print collectors by Lippmann Friedrich 1839-1903 & Lehrs Max 1855-1938 & Hardie Martin 1875-1952

Author:Lippmann, Friedrich, 1839-1903 & Lehrs, Max, 1855-1938 & Hardie, Martin, 1875-1952
Language: eng
Format: epub
Tags: Engraving -- History, Etching -- History
Publisher: New York : C. Scribner's Sons
Published: 1907-03-25T05:00:00+00:00

Fig. 74. Lucas van Uden : Landscape (detail).

for the first time in their making, although we know no other etchings from his hand. Freely handled, and in comparison with his paintings almost broad in effect, are the landscapes of Adriaen van Stalbent (Antwerp, 1580—1662), showing a rich variety of scenery and figures. Lucas van Uden (Antwerp, 1595—1672) devoted himself to the picturing of the undulating plains, studded

with groups of trees, that are characteristic of his native land, and shows a fine sense of the relations of tone in his distances (fig. 74). At a later period he was strongly influenced by the method of treating landscape for which Rubens set the example. On many occasions he etched landscapes after Titian, following drawings or paintings that had found their way to the Netherlands. Akin to Van Uden in his early plates is Lodewyck de Vadder (Brussels, 1605—1655), who also reproduced his native scener}", but afterwards severed his early associations, and sought his model in the Dutch artist, Waterloo. Ignatius van der Stock, who was still living at Brussels in 1660, seems to have clung longest to the older Flemish traditions in his broad and vigorous landscape plates.

The animal pictures of this school are represented in the domain of etching by the work of Jan Fyt (Antwerp, 1611 —1661), the etcher of a series of somewhat coarse, but carefully handled plates, showing various breeds of dogs. Pieter Boel (Antwerp, 1623—1674) was another animal etcher, while Jan Baptiste de Wael (Antwerp, 1557 ?—1633 ?), belonging to an older generation, followed in the footsteps of the Italianised Flemings, and in general reproduced other artists' compositions.

While Flemish art of the seventeenth century favoured engraving rather than etching, in Holland etching won special popularity, and reached there the full development of its artistic and technical qualities. Almost all the Dutch artists of this period used the etching-needle, some of them only occasionally or experimentally, while others— and among these were a number of the greatest masters— found in etching their principal means of artistic expression.

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