DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.73058#0049
Analysis of Style.
During his lifetime Bartolozzi received a full measure of praise, even from rivals. In
the course of a lecture on engraving, delivered at the Surrey Institution in the year 1809,
by that eminent stipple engraver, Robert Mitchell Meadows, whose untimely death imme-
diately afterwards was an irreparable loss to the profession, he said : " By what epithet shall
I do justice to the genius, taste, and fancy of that mighty master of grace, elegance, and
beauty, Mr. Bartolozzi, whose high example during his long residence in this country
contributed, above all things, to the improvement of British engraving; and whose best
works, being executed amongst us, and therefore considered as English prints, in no
small degree enhance the reputation of British art from all the rest of Europe ?"
Nor has modern criticism, even in the rapid phases of taste, and in the robust reaction
of realistic times against much that the last century regarded as the only civilized art,
brought any serious charges against the work of Bartolozzi. It has been asserted that his
figures are too much alike—all brothers and sisters ; but this effect is rather the result of
his aim at ideal beauty than of a lack of invention. Sir Joshua held that it was below the
dignity of ideal art to be very individual.
It has also been said that Bartolozzi's prints lack colour, i.e., the due subordination
and relative force of minor objects,—and in many plates bearing his name, but probably
only touched by him, the accusation is just; but in his finer and more important works the
very reverse is the fact, colour constituting one of his many charms. Another fault averred
is a lack of depth and strength in his shadows—the delicacy and luminosity of his half-
tones being beyond denial ; but this criticism springs directly from a certain modern love
of abruptness of effect. Our time, which cares for vivid art, approves Bartolozzi eminently
for the animation and life which he always gives to the eyes, and this is a distinguishing
note of his works among those of almost all other engravers.
CHAPTER
During his lifetime Bartolozzi received a full measure of praise, even from rivals. In
the course of a lecture on engraving, delivered at the Surrey Institution in the year 1809,
by that eminent stipple engraver, Robert Mitchell Meadows, whose untimely death imme-
diately afterwards was an irreparable loss to the profession, he said : " By what epithet shall
I do justice to the genius, taste, and fancy of that mighty master of grace, elegance, and
beauty, Mr. Bartolozzi, whose high example during his long residence in this country
contributed, above all things, to the improvement of British engraving; and whose best
works, being executed amongst us, and therefore considered as English prints, in no
small degree enhance the reputation of British art from all the rest of Europe ?"
Nor has modern criticism, even in the rapid phases of taste, and in the robust reaction
of realistic times against much that the last century regarded as the only civilized art,
brought any serious charges against the work of Bartolozzi. It has been asserted that his
figures are too much alike—all brothers and sisters ; but this effect is rather the result of
his aim at ideal beauty than of a lack of invention. Sir Joshua held that it was below the
dignity of ideal art to be very individual.
It has also been said that Bartolozzi's prints lack colour, i.e., the due subordination
and relative force of minor objects,—and in many plates bearing his name, but probably
only touched by him, the accusation is just; but in his finer and more important works the
very reverse is the fact, colour constituting one of his many charms. Another fault averred
is a lack of depth and strength in his shadows—the delicacy and luminosity of his half-
tones being beyond denial ; but this criticism springs directly from a certain modern love
of abruptness of effect. Our time, which cares for vivid art, approves Bartolozzi eminently
for the animation and life which he always gives to the eyes, and this is a distinguishing
note of his works among those of almost all other engravers.
CHAPTER