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A History Of Wood Engraving


Author : Douglas Percy Bliss
language : en
Publisher: Skyhorse Publishing Inc.
Release Date : 2013-03-01


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Originally published: London: J.M. Dent, 1928.

A History Of Wood Engraving


Author : Albert Garrett
language : en
Publisher:
Release Date : 1978


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A History Of Wood Engraving


Author : George Edward Woodberry
language : en
Publisher: New York, Harper & Bros., 1883. - Detroit : Gale Research Company
Release Date : 1883


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The History Of Wood Engraving In America


Author : William James Linton
language : en
Publisher: Boston : Estes and Lauriat
Release Date : 1882


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A Brief History Of Wood Engraving From Its Invention


Author : Joseph Cundall
language : en
Publisher: Library of Alexandria
Release Date : 1895


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A History Of British Wood Engraving


Author : Albert Garrett
language : en
Publisher: Humanities Press Intl
Release Date : 1978


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Why Bewick Succeeded A Note In The History Of Wood Engraving


Author : Jacob Kainen
language : en
Publisher: Createspace Independent Publishing Platform
Release Date : 2017-06-03


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The Contemporary View of Bewick After 1790, when his A general history of quadrupeds appeared with its vivid animals and its humorous and mordant tailpiece vignettes, he was hailed in terms that have hardly been matched for adulation. Certainly no mere book illustrator ever received equal acclaim. He was pronounced a great artist, a great man, an outstanding moralist and reformer, and the master of a new pictorial method. This flood of eulogy rose increasingly during his lifetime and continued throughout the remainder of the 19th century. It came from literary men and women who saw him as the artist of the common man; from the pious who recognized him as a commentator on the vanities and hardships of life (but who sometimes deplored the frankness of his subjects); from bibliophiles who welcomed him as a revolutionary illustrator; and from fellow wood engravers for whom he was the indispensable trail blazer. During the initial wave of Bewick appreciation, the usually sober Wordsworth wrote in the 1805 edition of Lyrical ballads: O now that the genius of Bewick were mine, And the skill which he learned on the banks of the Tyne!Then the Muses might deal with me just as they chose, For I'd take my last leave both of verse and of prose.What feats would I work with my magical hand!Book learning and books would be banished the land. If art critics as a class were the most conservative in their estimates of his ability, it was one of the most eminent, John Ruskin, whose praise went to most extravagant lengths. Bewick, he asserted, as late as 1890, " ... without training, was Holbein's equal ... in this frame are set together a drawing by Hans Holbein, and one by Thomas Bewick. I know which is most scholarly; but I do not know which is best." Linking Bewick with Botticelli as a draughtsman, he added: "I know no drawing so subtle as Bewick's since the fifteenth century, except Holbein's and Turner's." And as a typical example of popular appreciation, the following, from the June 1828 issue of Blackwood's Magazine, appearing a few months before Bewick's death, should suffice: Have we forgotten, in our hurried and imperfect enumeration of wise worthies, -have we forgotten "The Genius that dwells on the banks of the Tyne," the matchless, Inimitable Bewick? No. His books lie in our parlour, dining-room, drawing-room, study-table, and are never out of place or time. Happy old man! The delight of childhood, manhood, decaying age!-A moral in every tail-piece-a sermon in every vignette. This acclaim came to Bewick not only because his subjects had a homely honesty, but also, although not generally taken into account, because of the brilliance and clarity with which they were printed. Compared with the wood engravings of his predecessors, his were more detailed and resonant in black and white, and accordingly seemed miraculous and unprecedented. He could engrave finer lines and achieve better impressions in the press because of improvements in technology which will be discussed later, but for a century the convincing qualities of this new technique in combination with his subject matter led admirers to believe that he was an artist of great stature. William Wordsworth, Lyrical ballads, London, 1805, vol. 1. p. 199. John Ruskin, Ariadne Florentina, London, 1890, pp. 98, 99. Ibid., p. 246.