Identifier: engravingetching00lipp (find matches)
Title: Engraving and etching : a handbook for the use of students and print collectors
Year: 1907 (1900s)
Authors: Lippmann, Friedrich, 1839-1903 Lehrs, Max, 1855-1938 Hardie, Martin, 1875-1952
Subjects: Engraving -- History Etching -- History
Publisher: New York : C. Scribner's Sons
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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ynot only worked with great precision and delicacy, but inthe rendering of the actual texture and material of naturalobjects they obtained varieties of tone and methods ofexpression that were hitherto unknown. Flesh, silk, lace,fur, are rendered by them with realistic exactness, and atthe same time the whole effect is absolutely harmonious(fig. 97). Pierre Drevets talent seems to have reached itsfull completion in 1696 with a portrait of AntoineArnauld ; his portrait of Colbert in 1700 shows him atthe very summit of his art. Drevet, however, was strictl)dependent on the paintings which fell to him to engrave,and his prints accordingly have an uneven value cor-responding to that of the pictures on which they arebased. The principal works of his later period are thefull-length portraits of Louis XIV and Louis XV afterRigaud. Pierre Imbert Drevet began his career by engraving afterLebrun ; in 1718 he finished a small plate engraved withextreme daintiness and skill, showing Bishop Fressan
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Fig 97. Pierre i»r<.\tt K u m ct Robert de Cotte (detail)213 2 14 ENGRAVING IN FRANCE kneeling before the Madonna ; in 1723 he completed hisportrait of Bossuet_after Rigaud, perhaps the finest of allthe engraved portraits of France, and in the followingyear his almost equally excellent portrait of CardinalDubois. Claude Drevet followed the style of his uncle and ofPierre Imbert, though with less successful results. Bysedulously maintaining the traditions of the Drevet familyhe exercised considerable influence on the artists, suchas DauUe, who surrounded him. Claude Drevet in hisearlier days also engraved after Lebrun, and took part inthe execution of the large plate picturing the Anointingof Louis XV at Rheims. The rare union of skilfultechnique and genuine artistic feeling which distinguishesthe works of the two older Drevets does not appear inthe work of Claude or any other of their successors. Toomuch stress came to be laid on the technical renderin- ofexternals and accessories

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