By Howard Simon
Starting with 16th-century woodcuts by means of Albrecht Dürer and Hans Holbein, the chronological presentation beneficial properties works through Goya, Hogarth, Blake, Morris, Doré, Toulouse-Lautrec, Beardsley, and different masters. a short textual content introduces every one part, and the amount concludes with a world roster of contemporary artists, categorised via nation. All that's top and striking within the box of representation looks the following, during this colossal e-book of sketches, engravings, woodcuts, and lithography.
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Additional resources for 500 years of illustration : from Albrecht Dürer to Rockwell Kent
Annunciation’ Woodcut, Sixteenth Century LUCAS CRANACH THE ELDER. ‘Christ and the Samaritan’ Woodcut LUCAS VAN LEYDEN. ‘Ahab and Isabel’ Woodcut, Sixteenth Century, Dutch School ANTON VON WORMS. ‘The Holy Family’ Woodcut, Sixteenth Century, Dutch School LUCAS CRANACH THE ELDER. Three Plates HEINRICH ALDEGREVER. ‘Potiphar’s Wife Accuses Joseph’, Woodcut ALBRECHT ALTDORFER. ‘St. Jerome in His Cave’ Woodcut, Sixteenth Century HANS BALDUNG. ‘St. Elizabeth’ Woodcut BERNARD SALOMON. ‘The Fall of Eve’ Woodcut, Sixteenth Century, French School BERNARD SALOMON.
Cheapside, Charing Cross, Bridewell, Fleet Street Prison, all were familiar to him and became part of the moving pageantry he set down. There were indications in his early work that he had studied the great French satirist and etcher Jacques Callot. In Hogarth’s crowded plates there is the same preoccupation with little figures, each carefully individualized, carrying on the business of life. It was by the small illustrations to Samuel Butler’s Hudibras in its 1726 edition that Hogarth first became known to his profession, although one year previously he had engraved some prints for Beaver’s Military Punishments of the Ancients.
Gooden’s modern work for the Nonesuch Bible is a fine example of line engraving. The contrast between these two modern artists, each using the same medium with such varied results, speaks well for a means of illustration that in recent years has been little used. In the final analysis, it is the quality of imagination and design, plus intelligent preparation for reproduction that enables the artist, whatever his medium, whether it be wood engraving, copper engraving or line drawing, to make a beautiful book.