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    Engraving for Illustration: Historical and Practical Notes
    Engraving for Illustration: Historical and Practical Notes
    Engraving for Illustration: Historical and Practical Notes
    Ebook78 pages49 minutes

    Engraving for Illustration: Historical and Practical Notes

    By Joseph Kirkbride

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    "Engraving for Illustration: Historical and Practical Notes" by Joseph Kirkbride. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
    LanguageEnglish
    PublisherGood Press
    Release dateApr 25, 2021
    ISBN4064066141745
    Engraving for Illustration: Historical and Practical Notes

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      Book preview

      Engraving for Illustration - Joseph Kirkbride

      Joseph Kirkbride

      Engraving for Illustration: Historical and Practical Notes

      Published by Good Press, 2022

      goodpress@okpublishing.info

      EAN 4064066141745

      Table of Contents

      PREFACE

      CHAPTER I

      CHAPTER II

      CHAPTER III

      CHAPTER IV

      CHAPTER V

      CHAPTER VI

      CHAPTER VII

      CHAPTER VIII

      INDEX

      PREFACE

      Table of Contents

      A philosopher and writer has declared that in our fine arts, not imitation, but creation, is the aim.

      It is to emphasise a distinction between an imitative and a creative art that the following chapters are offered.

      Engraving for Illustration is pre-eminently a creative art by which the work of the artist is translated, in order to render the effect of his design in such a form as will admit of rapid and effective reproduction.

      It is, moreover, a popular art with a well-defined educative principle underlying the numerous phases of its manifestation; while, at the same time, its historical and general interest will commend this brief record of its progress and influence to many who are lovers of art for art's sake.

      J. K.

      London June 1903.

      ENGRAVING FOR ILLUSTRATION

      CHAPTER I

      Table of Contents

      ITS INCEPTION—A THEORY OF EVOLUTION—A DISTINCT PROGRESS

      In proportion to his force the artist will find in his work an outlet for his proper character.—Emerson.

      Its Inception.—It was the dawn of a new sense when primitive man first ornamented his weapons, utensils, and the walls of his cave dwellings with incised drawings,—pictorial representations which enabled him to record events or suggest and illustrate thoughts and ideas when his somewhat limited vocabulary failed him.

      It was a severely utilitarian epoch of the world's history, and the crude yet intensely realistic manifestations of man's artistic desires were the more remarkable that they were wholly dependent upon stern necessity for their realisation. Childlike in their simplicity, yet both graphic and vigorous in expression, these ancient drawings bear testimony to the intense desire of primeval man for some suitable and satisfying form of pictorial expression. Such incised drawings were undoubtedly the earliest forms, which the mind of man suggested and his skill attained, of conveying information and displaying pictorial or ornamental art. They were but crude conceptions of the untutored art of a savage race, yet, with a characteristic quaintness of expression, they abundantly prove the existence of an innate, imitative, and artistic faculty, inspired by an insatiable craving for illustrative delineation.

      A Theory of Evolution.—The antiquity of the engraver's art, then, is exceedingly remote, and its earliest records display frequent evidences of manipulative skill and artistic perception—evidences which are still more convincing when the environment and scanty resources of its exponents are fully appreciated. It was a most unique phase of that process of evolution whereby the social education of the human race was advanced, and through countless ages it has indicated the same onward roll of progressive intelligence.

      Responsive to the ever-changing conditions of life, the necessities of mankind were constantly increasing. His higher intelligence also created a greater diversity of interests, and consequently demanded a fuller and more expressive vehicle of communication for his thoughts. No longer content with what was only needful for the maintenance of social or commercial intercourse, he sought to add to the archaic simplicity of his drawings, skilful arrangement, and a certain degree of artistic feeling and interpretation. It was as though some transitory flashes of artistic power in the minds of prehistoric artists were struggling with an inability to give adequate expression to their inceptions. Their productions, some of them dating from the Palæolithic and Neolithic periods, were not pretentious works of art. Their primary purpose being representative, their merit was, of course, decided by the success or failure of such representation, apart from any artistic qualities they might possess.

      A Distinct Purpose.—The evident care with which many of the ancient incised drawings or engravings were executed and preserved, together with the permanent character of the materials employed, seems to indicate that these simple yet graphic representations were produced with the distinct purpose of perpetuating a memory as well as

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