Ettore Tito
“THE AGGLESTONE, ISLE OF PURBECK”
have been more effectively, or at least more easily,
attained with the aid of work in other media, such
as mezzotint. But he has been content with his
limitations, and we have to thank his enterprise
for strenuously facing problems which have seldom
failed to damit the etcher. If the quality of the
result is variable, the conviction of purpose which
has produced not a few really remarkable plates,
and gives interest to each attempt, is no small
distinction. A. M. H.
FROM THE ETCHING BY SIR J. C. ROBINSON
The paintings of ettore
TITO. BY LUDWIG BROSCH.
Giacomo Favretto, the actual founder
of Venetian genre painting, had been laid in
his grave in 1887, and a remarkable troop of
painters had risen (or imagined they had risen) on
his shoulders. At the head of them all was a
German, Eugen Blaas, who in his innumerable
pictures has set up the fair Venetian as an article
CHIOGGIA
(In the Luxembourg, Paris)
BY ETTORE TITO
“THE AGGLESTONE, ISLE OF PURBECK”
have been more effectively, or at least more easily,
attained with the aid of work in other media, such
as mezzotint. But he has been content with his
limitations, and we have to thank his enterprise
for strenuously facing problems which have seldom
failed to damit the etcher. If the quality of the
result is variable, the conviction of purpose which
has produced not a few really remarkable plates,
and gives interest to each attempt, is no small
distinction. A. M. H.
FROM THE ETCHING BY SIR J. C. ROBINSON
The paintings of ettore
TITO. BY LUDWIG BROSCH.
Giacomo Favretto, the actual founder
of Venetian genre painting, had been laid in
his grave in 1887, and a remarkable troop of
painters had risen (or imagined they had risen) on
his shoulders. At the head of them all was a
German, Eugen Blaas, who in his innumerable
pictures has set up the fair Venetian as an article
CHIOGGIA
(In the Luxembourg, Paris)
BY ETTORE TITO