Identifier: shorthistoryofen00hinduoft (find matches)
Title: A short history of engraving (and) etching : for the use of collectors and students; with full bibliography, classified list and index of engravers
Year: 1908 (1900s)
Authors: Hind, Arthur Mayger, 1880-1957
Subjects: Engravers Engraving Etchers Etching
Publisher: London : A. Constable
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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is manner of strengthening hisetched outlines with rather coarse dry-point work. Two of Ostades pupils, Bega and Dusart, followed their masterin etching, but neither shared much of his strength either ofdraughtsmanship or characterisation,^ega. CoRNELis Bega is distinctly the stronger of the two as an ^ One or two, probably the more popular plates (e.g. Ostade in his Studio), aresigned in the later reworked states, A. v. Ostade fecit et exciidit. ^ The Doll (Dutuit 16) may be later in the seventies ; the last figure is illegible. ^ A much closer imitator of Callots lineal manner in this school of genre isPieter JaxNsz Quast of Amsterdam. OSTADE—BEGA—DUSART 189 etcher, but Ostades vigorous line is changed for a deHcate mannerof etching which scarcely fits the coarseness of his subjects. HeincHnes towards square-cut, angular figures, whose peculiarity isemphasised by the clear definition of his light and shade. Never-theless, a plate like the Coinpa/iy in a Tavern (D. 35) shows that
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Fig. 72.—Adriaen van Ostade. Saying Grace. his understanding of chiaroscuro in etching was such as would notput even Goya to shame. CoRNELis DusART is hardly so sound a draughtsman as Bega, Dusart.and his deficiencies are more evident in the delicate line of hisetchings than in his numerous mezzotints. In genre painting Ostade had a brilliant but short-lived rival in Brouwer. 190 THE MASTERS OF ETCHING Teniers thevounsrcr. Landscape. Jan van Goyen, Herman Saftleven.Allart vanEverdingen. RoelandRoghnian. Adriaen Brouwer of Antwerp (1605-38). It is probable, how-ever, that the few plates which bear his name are not original works,but etched by others after his compositions. In any case, they havelittle of the vigour or spirit one would expect from the painter. The same may be said of a large number of the plates with thename or monogram of David Teniers the younger.^ I do notthink there is sufficient reason to doubt the plates definitely signedD. Teniers fee, e.g. the Festival (D. i),

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