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In art history, "Old Master" (or "old master") [1] [2] refers to any painter of skill who worked in Europe before about 1800, or a painting by such an artist. An "old master print" is an original print (for example an engraving, woodcut, or etching) made by an artist in the same period. The term "old master drawing" is used in the same way.
The main techniques used, in order of their introduction, are woodcut, engraving, etching, mezzotint and aquatint, although there are others. Different techniques are often combined in a single print. With rare exceptions printed on textiles, such as silk, or on vellum, old master prints are printed on paper.
Metropolitan Museum, materials-and-techniques: etching; Museum of Modern Art information on printing techniques and examples of prints; The Wenceslaus Hollar Collection of digitized books and images at the University of Toronto; Carrington, Fitzroy. Prints and their makers: essays on engravers and etchers old and modern. United States: The ...
The 17th-century drawing is attributed to the Flemish engraver and draftsman Willem Panneels (c. 1600–34). A newly acquired old master drawing at the Washington County Museum of Fine Arts Skip ...
In Europe, woodcut is the oldest technique used for old master prints, developing about 1400, by using, on paper, existing techniques for printing. One of the more ancient single-leaf woodcuts on paper that can be seen today is The Fire Madonna ( Madonna del Fuoco , in the Italian language), in the Cathedral of Forlì , in Italy.
In his later years, Anquetin became very interested in the works of the Flemish masters. As Maroger's teacher, Anquetin provided guidance in the study of drawing, anatomy and master painting techniques. Maroger began to become famous around 1931, when the National Academy of Design in New York City reported Maroger's painting discoveries.
The thesis prompted intense and sustained debate among artists, art historians, and a wide variety of other scholars. In particular, it has spurred increased interest in the actual methods and techniques of artists among scientists and historians of science, as well as general historians and art historians. The latter have in general reacted ...
Artists sought more gestural qualities, for which graphite, red and black chalk were better suited. Ink and wash drawings are also prevalent in the period. In addition, these other drawing techniques required less effort and were more forgiving than silver, which resists erasure and leaves a fainter line.