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Klappentext This is the first inexpensive republication of probably the finest work on the techniques of etching, drypoint, soft-ground etching, aquatint, and the allied arts. Lumsden, the renowned etcher, Associate of the Royal Scottish Academy, and author of the article on etching technique in the Encyclopaedia Brittanica (14th edition), was unsurpassed in his knowledge of the methods and the background of the art. His work is invaluable for the absolute beginner as well as for more advanced etchers, who will find it a matchless survey of various techniques and a major sourcebook for the history of their art. Professor Lumsden carefully and clearly explains each step in the creation of an etching, from essential materials to completed proof. Fifty-five figures in the text illustrate each implement and each phase in the process, while 24 annotated plates of etchings by the author exemplify every technique and approach that he discusses. Well acquainted with all the beginner's problems, the author shows you how to prepare etchings at home in the most economical way. He includes many different choices of method and a great variety of recipes and formulas, some dating from medieval times, and many virtually unobtainable elsewhere. His discussion covers grounds and grounding the plate; points, scrapers, burnishers, and gravers; mordants; plan of an etching room; methods of biting; printing; mistakes and their remedy; transferring; aquatint, drypoint, and mezzotint; flattening and mounting; restoring; and every other aspect of etching. In addition to these valuable practical lessons in etching, the book also features a rich historical survey of the art, illustrated by 105 annotated plates, and containing a full description of each artist's oeuvre and techniques. Fullest coverage is given to the central position of Rembrandt (27 plates) and Goya (8 plates), but such men as Callot, Piranese, Durer, Leyden, Hogarth, Blake, Whistler, and 35 others are also included. Inhaltsverzeichnis PART II. INTRODUCTORYII. ESSENTIALSIII. THE PLATEIV. "GROUNDS AND " GROUNDING " THE PLATE"V. "POINTS, SCRAPERS, BURNISHERS AND GRAVERS"VI. MORDANTSVII. LIST OF MATERIALS AND TOOLSPART IIVIII. PLAN OF AN ETCHING ROOMIX. METHODS OF BITINGX. PRINTINGXI. ADDITIONAL WORK-MISTAKES AND THEIR REMEDYXII. "TRANSFERRING-" NEGATIVE " AND " RELIEF " ETCHING"XIII. "SOFT GROUND, AQUATINT, AND THE PEN METHOD"XIV. DRYPOINT AND MEZZOTINTXV. PRINTING PAPERSXVI. FLATTENING AND MOUNTINGXVII. MILDEW AND RESTORINGXVIII. THE MEDIUM IN RELATION TO THE ARTIST'S IDEAPART IIIXIX. A BRIEF SURVEY OF ETCHERS UP TO THE YEAR 1800XX. DÜRER AND LUCAS VAN LEYDENXXI. REMBRANDT AND VAN DYCKXXII. GOYAXXIII. BRITISH ETCHERS OF THE NINETEENTH CENTURYXXIV. MERYON AND THE FRENCH REVIVALXXV. HADEN AND WHISTLERXXVI. THE MODERNSPART IVXXVII. PERSONAL NOTES BY EMINENT ETCHERS ON THEIR METHODSINDEX...
