DOI issue:
Nr. 333 (February 1925)
DOI article:Pearson, Ralph M.: Etchings as works of art
DOI Page / Citation link:https://doi.org/10.11588/diglit.19984#0130
mceRnAcionAL
(Tics anitren duals is 'icn foil a*ytgmn.,iwfins den Rn: hicr llide 'PofcriJu tttrum tenter ad jUiemim fU0mUut;yub>ruvetUS
'Cooks hams ie vikorie: nvur Orudis dear iduv v,m emen ouer'wper f,q) Ciuilcm Jictifiev, 111 ferfya. Hatauus CeruUem adysfet,
thick ruyters tux other dear fimtrmclm Udt,~d*er den grondt W \_J term Ustmm'frtmittms, si vtrextrema. pallida eancs mStere-
Wis; ende wilt den fL«h, dryuende de Hollanders in dm Rjk. tw, pi Itmii CtrcumfitfuS hojll RatOWS in Rhemm COmpullt.
Number Five. Here is a richness of complicated design that is certainly intriguing to the eye. Looking at it upside down, note
the controlled variation in the play of diagonal lines in spears, lances, horses' legs, etc.
creation which has vitalized works of art since
man first scratched pictures on the walls of his
caves—none of the thing which all human history
declares is art.
Dependence on matters of skill and person-
ality of the artist as reflected by his style of hand-
ling his needle, or brush, also contribute to the
weakness of representative pictures in art value,
and for the same reason. They direct attention
both of the maker and observer to matters other
Number Six. In this the controlled line and form movement in the trees in relation to the movement in the figures is the striking
feature. The trees, though obviously arranged to meet the needs of the design, are still normal trees.
three ninety
february i 9 2 ;
(Tics anitren duals is 'icn foil a*ytgmn.,iwfins den Rn: hicr llide 'PofcriJu tttrum tenter ad jUiemim fU0mUut;yub>ruvetUS
'Cooks hams ie vikorie: nvur Orudis dear iduv v,m emen ouer'wper f,q) Ciuilcm Jictifiev, 111 ferfya. Hatauus CeruUem adysfet,
thick ruyters tux other dear fimtrmclm Udt,~d*er den grondt W \_J term Ustmm'frtmittms, si vtrextrema. pallida eancs mStere-
Wis; ende wilt den fL«h, dryuende de Hollanders in dm Rjk. tw, pi Itmii CtrcumfitfuS hojll RatOWS in Rhemm COmpullt.
Number Five. Here is a richness of complicated design that is certainly intriguing to the eye. Looking at it upside down, note
the controlled variation in the play of diagonal lines in spears, lances, horses' legs, etc.
creation which has vitalized works of art since
man first scratched pictures on the walls of his
caves—none of the thing which all human history
declares is art.
Dependence on matters of skill and person-
ality of the artist as reflected by his style of hand-
ling his needle, or brush, also contribute to the
weakness of representative pictures in art value,
and for the same reason. They direct attention
both of the maker and observer to matters other
Number Six. In this the controlled line and form movement in the trees in relation to the movement in the figures is the striking
feature. The trees, though obviously arranged to meet the needs of the design, are still normal trees.
three ninety
february i 9 2 ;