Campbell Dodgson

Name: Contemporary English woodcuts
Author: Campbell Dodgson

Contemporary English woodcuts (1922)

Summary

“Contemporary English woodcuts”, published in 1922, is a work by Campbell Dodgson. It explores elements such as woodcut, engraving and artists.

Quotes from Contemporary English woodcuts (Campbell Dodgson)

Campbell Dodgson, Contemporary English woodcuts (1922)

“ This general statement about nineteenth century engraving admits of certain exceptions. Originality breaks out now and again, whether in the humbler form of broadsides and advertisements and illustrations to chap-books, ballads, and children's story books, or in the work of those rare artists who chose to learn the craft of wood-engraving for themselves, and engrave their own designs without employing a professional hand as interpreter. ”

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Source: Wikisource

Campbell Dodgson, Contemporary English woodcuts (1922)

“ Miss Gribble and Miss Pilkington are among the other women artists who practise wood engraving with zeal and success, the former is now turning her attention to book illustration, in which English engravers of the modern school have hitherto achieved smaller results than their contemporaries in France.
All these artists alike, however diverse their vision, their taste or their accomplishment may be, use the wood block and the graver or knife in a strictly orthodox manner as the medium and tools with which to express themselves directly. They cut their lines or spaces as they go on ”

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Source: Wikisource

Campbell Dodgson, Contemporary English woodcuts (1922)

“ About the practice in the Latin countries at this period we are less well informed, Italian and French woodcuts being much more rarely signed than the German, Swiss and Dutch. We seldom know the names of the artists who designed the book illustrations; but in Italy, at least, we know that it was a very general practice for drawings and, later on, even pictures, to be reproduced by professional woodcutters.
That was the case also in the seventeenth century, when wood-engraving enjoyed more favour in the Low Countries than elsewhere. ”

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Source: Wikisource

Campbell Dodgson, Contemporary English woodcuts (1922)

“ Long before this wood-blocks had been cut for the purpose of printing patterns on textile fabrics, but it was only when paper came into general use, late in the fourteenth century, that the print, as we now understand it, obtained a chance of separate existence. ”

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Source: Wikisource

Campbell Dodgson, Contemporary English woodcuts (1922)

“ Sydney Lee, belong to the Society of Wood Engravers which was founded in 1920, or to the group which, without being actually members of that Society, have contributed to the two annual exhibitions which it has already held at the Chenil Gallery. But the selection has by no means been confined to that group, nor is it by the desire, or the fault, of publisher or editor that certain artists who might naturally be expected to contribute, are not represented. ”

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Source: Wikisource

Campbell Dodgson, Contemporary English woodcuts (1922)

“ And throughout the last century of that period, from about 1470 onwards, the woodcut enjoyed a supremacy without rival as the process for book illustration, till the competition of the copper plate, engraved or etched, became serious, and finally drove the woodblock out of the field. In the fifteenth century we rarely know the names of the illustrators, and it is generally uncertain whether the designers of the blocks also actually cut them ”

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Source: Wikisource

Campbell Dodgson, Contemporary English woodcuts (1922)

“ The development of the woodcut, in the earliest specimens of which we recognise the Gothic style of about 1390-1410, out of the printed pattern was followed before very long by the development of line engraving out of ornament engraved by the goldsmith upon vessels of silver, and that of etching out of the armourer's practice of decorating plates of steel by designs bitten in with acid. Of these two processes, the first came into use about 1430-40, and the second quite early in the sixteenth century. Every century contributes its process: the seventeenth, mezzotint ”

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Source: Wikisource

Campbell Dodgson, Contemporary English woodcuts (1922)

“ In every Western country, but notably in Germany, the Netherlands, Switzerland, Italy and France, the production of woodcuts, both in the fifteenth and the sixteenth century, was enormous, and a very large proportion of them was of fine quality. ”

Campbell Dodgson

Summary

Quotes from Contemporary English woodcuts (Campbell Dodgson)

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