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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affected expression fails to spoil the fineness of theworkmanship. Le.ss successful is his portrait of the GreatElector. Johann Hainzelmann also produced larger platesafter Carracci, Bourdon, and similar masters. Workingimmediately after Hainzelmann in Berlin was anotherpowerful engraver of the same type, Samuel Blesendorf(died 1706). At Augsburg the French spirit was represented by theyounger of the brothers Hainzelmann, Elias (1640—1693);at Munich by Gustav Ambling; while Johann JacobThurneyssen, or Thurneysser, of Basle (1636—i/ii)^worked in various parts of Germany as a somiewhatsuccessful follower of Claude Mellan. From the union between German engravers and theFrench School sprang one of the greatest masters ofengraving produced by the eighteenth century—GeorgFriedrich Schmidt (Berlin, 1712—1775). At first astudent at the Berlin Academy, he afterwards received agood technical training from an indifferent engraver, GeorgPaul Busch. Of his own accord he was workintj in the
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Fig. 121. Gcori; Friednch Schmidt: Portrait of Ouentin de la Tour (detail). 269 270 ENGRAVING IN GERMANY manner of Edclinck and the French engravers of his school(as is shown by his portrait of Clermont), when in 1736an opportunity offered itself of his going to Paris, wherehe became a pupil of Larmessin. In his reproductions ofthe paintings of the Watteau School Schmidt rose instantlysuperior to his French acquaintances, but he was compelledat first to suffer his work, such as Nicaise, The Falcon,*and Youth, to go out into the world under Larmessinsname. A commission, however, from the publisherOdieuvre for some small engraved portraits soon directedSchmidt towards the class of work for which hepossessed such peculiar talent. His first striking successwas won by his large portrait, dated 1739, of Henry Louisde la Tour dAuvergne, after a fine original by Rigaud.For a long time the art of engraving had produced noplate which could hold its own with this for power andenergy. This was fo

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