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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uchpower is gained by economy and concentration of line may beremarked in the small Raising of Lazarus of 1642 (B. 72), oneof his most perfect compositions. The slightly later Entotnbment(B. 84) discloses a growing freedom of design, and the intimateforce of the artists sympathy touches here the calmer depths ofgrief, which appeal to the Northerner so much more truly than theharrowing and theatrical distress of so many Italian entombments. u ^*-(^*^ Mean.\vhile tDngis^bgcpming a factor of increasingjmpoil^ Butin the subject etchings of the middle period (as in his portraits uptill the last), it is still achieved by the use of dosely^hatched Huesof shading. The method is well exemplified in the shaded N lyS THE MASTERS OF ETCHING portions of the unfinished plate of Rembrandt drawing from a Model^ (B. 192), though these very portions of this interesting etching may be a pupils addition to the masters preliminary sketch. The treatment is still essentially the same in the culminating work
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Fig. 64.—Rembrandt. Portrait of Arnold Tholinx. of the period, if not the crown of his maturest activity, theChrist 7vith the Sick around Him, receivitig little Children (B. 74).^ ^ The original drawing for this plate is in the British Museum. - Commonly known as The Hundred Guilder Print, already its recognisedtitle early in the eighteenth century, apparently originating in the price it oncerealised in an auction (see C. H. de Groot, Urkimden, No. 390). I THE HUNDRED GUILDER PRINT 179 Criticism is almost impertinent in the face of a masterpiece thatmust make a lasting impression on all who know it. Suffice itto say that it embodies the whole range of Rembrandts humansympathy, his appreciation of the manifold phases of human-character and emotion, from the mother with the child that firstelicits the divine help, to the group of curious onlookers lolling andchatting on the left. Of the first state of the plate, before certaincross lines on the asss neck, only nine impressions are kno

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