File:Goya - Caprichos - No. 59 - Y aun no se van!.jpg

Identifier: printsbriefrevie00rich (find matches)
Title: Prints; a brief review of their technique and history
Year: 1914 (1910s)
Authors: Richter, Emil Heinrich, 1869-
Subjects: Engraving -- History Engravers
Publisher: Boston, New York : Houghton Mifflin Company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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and Claude Lorrain 105 PRINTS have already been mentioned. Painters likeLebrun or Largilliere left the graphic artsto the engravers; they viewed their skillfultranslations of painting into black and whiteas the work of colleagues, not craftsmen.We have noted the influence of Watteau onthe etcher-engravers; he himself handledthe etching-point at times, in a few sketchyplates; Boucher, Fragonard, and othersdabbled in etching a little, nothing more.Jean Jacques de Boissieu and Jean PierreNorblin, the latter an enthusiastic studentof Rembrandts perplexing technique, shouldbe mentioned as leading exponents of etch-ing before the great nineteenth-century re-vival to which we shall presently turn. Nowwe must leave France, w^ith the classicalengravers at the helm, their formula spread-ing far and wide and with the vignettistsbusy on their portrayal of French society atthe end of the ancien regime. As Watteauhad shown us the customs of the grand-fathers, at the beginning of the century, so 106
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PLATE FROM THE CAPRICHOSFrancisco Goya FRANCE Saint-Aubin, Eisen, Moreaii, and otherclever artists show us the Hfe of the grand-children: a society bound up in the pursuitof pleasure, blindly rushing on toward exileor the guillotine of the French Revolution.Before proceeding to English prints, let usglance at the one prominent figure in Span-ish etching: Francisco Goya. A painter-etcher of intense feeling, fiery, impulsive, hefeels acutelv the evils under which his conn-try is groaning. In an art largely allusiveand bitterly satirical, he conjures before usan abyss of human wretchedness, greed, andmisrule in those strange Caprichos fromwhich an illustration has been selected. Inother series he shows with the same graphicpower the hazards of the bull - fight, andagain the fearful consequences of warfare.Filled with his thought, he compels the cop-per to express the intensity of his concep-tion. His medium is whatever will conveythe message, usually an etched outline,modeled into with a

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