Publisher's Synopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1921 edition. Excerpt: ... When Zorn was working in London in 1882 it was natural that the young Swedish artist should visit his fellow-countryman who was then best known in England, Axel Herman Haig, the etcher, who had already achieved a certain success. This meeting was to be of importance for Zorn. Haig immediately appreciated his dazzling gifts and became his instructor in the art of etching. In 1882 Zorn executed his first plate, a portrait of Haig, and this marks the beginning of his triumphal progress as an etcher, which is familiar to everyone interested in this branch of art. Swedish graphic art at the period of this memorable event forms a dark background to Zorn's own brilliant contribution. Copper engraving and lithography had by this time lost their importance as means of artistic expression. We had really one etcher of importance, Georg von Rosen, who had, however, devoted only a small portion of his creative power to his historical etched glass of the 'sixties and 'seventies. In the spring of 1875 original etching began for the first time to be regarded with interest by leading artists in Sweden. It was then that the Belgian artist, L. Lowenstam, opened his school of etching in Stockholm and some well-known artists began to practise the art, either directly as his pupils, or under the influence of the newly aroused interest for this branch of art. The painters of 'paysage intime were most typical of this period. But the pupil of Lowenstam who was to have the most brilliant future was Carl Larsson, well known later as one of the few Swedes, after Zorn, who were successful in achieving some reputation as etchers. But it was only the technique of etching that Zorn had to learn from Haig. The most thorough investigation would not produce any evidence...
