Etching. 



35 



William Hogarth. London. 1697-1764. Worked even more in 

 line-engraving than in etching, but artistically his better work is in his 

 pure etchings. 



Thomas Rowlandson. London. 1756-1827. 



James Gillray. London. 1757-1815. 



George Cruikshank. London. 1792-1878. 



In France a few attractive etchings were produced by Antoine 

 Watteau (Valenciennes, Paris ; 1684-1721), while Watteau's drawings 

 were etched by his pupil, Fran9ois Boucher (Paris ; 1703-70), who also 

 produced some original etchings. Count Caylus (Paris ; 1692-1765) 

 was chief among amateurs to encourage the reproduction of master - 

 drawings by the process of etching. 



Charles Natoire (Nimes, Paris, Eome ; 1700-77), Charles Hutin 



(Paris, Dresden; 1715-76), carried on the same traditions, while even 

 more exquisite work was done by Jean Honore Fragonard (Grasse, 

 Paris ; 1732-1806). Apart from these masters there was too much 

 archaising among the French etchers of the period, and in landscape the 

 most eclectic of these was J. J. de Boissieu (Lyons ; 1736-1810), who is 

 more individual in his etchings of genre. 



Several of the most interesting English etchers of the late XVIIIth 

 and early XlXth centuries have already been mentioned in the section 

 on Dry-point. Of etchers in pure line or soft ground, the most note- 

 worthy are the landscape painters John Crome (Norwich ; 1768-1821), 

 J. S. Cotman (Norwich, Yarmouth, London ; 1782-1842), and J. M. W. 

 Turner (London ; 1775-1851). Turner's great achievement in etching 

 was the Liber Shtdioritm, a series of plates designed to illustrate the 

 various styles of landscape, and published between 1807 and 1819. The 

 ■undertaking was never completed, only 71 out of a projected 100 plates 

 having been published. Turner etched all the plates in outline, and 

 generally left it to other engravers (such as Charles Turner, William 

 Say, and Thomas Lupton), to finish the subject in mezzotint in imitation 

 of his monochrome drawings in pen and wash. 



Etchers and dry-point artists such as Turner, Crome and Geddes, 

 contributed greatly towards the revival of original etchiiig which has 

 characterised the latter half of the XlXth century. France and England 

 have hitherto unquestionably divided the field of honour between them 

 in this revival. 



Paul Huet (Paris ; 1804-69) etched some striking landscape plates, 

 in a manner somewhat transitional between the old and the modern 

 style. 



The best of the French etchers of the revival are : 

 Theodore Rousseau. Paris, Barbizon. 1812-67. 

 Charles Jacque. Paris, Barbizon. 1813-94. 

 Charles Fran9ois Daubigny. Paris. 1817-78. 

 Jean Fran9ois Millet. Paris, Barbizon. 1814-75. 

 Camille Corot. Paris. 1796-1875. 



Charles Meryon. Paris. 1821-68. Incomparable as an etcher of 

 architecture, and a great influence on more recent etching. 



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