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Nous ne devons pas oublier malgré tout qu’il y a beaucoup d’artistes moins connus –les Salader, Goltzius, Müller, Callot , Bosse, Waterloo, della Bella, et beaucoup d’autres- qui font partie aussi des meilleurs représentants européens de l’art graphique, auteurs de pièces qui brillent d’une lumière particulière, soit par la virtuosité technique qu’elles montrent, soit par leur originalité, beauté ou force expressive.
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Nobody has any doubt about the high level reached in the prints made by Durer, Rembrandt, Piranesi, Tiepolo or Goya. We must not forget that however there are many artists that are not so famous – such as Salader, Goltzius, Müller, Callot, Bosse, Waterloo, della Bella, and many others- who are part of the best European creators of graphic art, authors of pieces that shine with a special light because of their technical virtuosity, their originality, beauty or expressive power. Some of these works are much better that many paintings. However, these facts are not always recognized. The majority of ancient prints are in black and white, it makes them difficult to be understood by those who find it hard to go beyond the decorative effect of colour paint. Nevertheless, the range of effects, and the wealth of nuances that a skilful engraver can reach with only one ink is obvious for any amateur of this art. There may also be a bias by the fact that it is a technique that allows to some extent, (as the plates wear out), lots of nearly identical images. On this point, however, there is a misunderstanding. Images may be very similar, but they are not entirely identical. Many prints can be made from a unique matrix, but above all it is a manual process: the inking, the paper type and, in the end, the printing, make that every image is different for a trained eye.
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