ETS (nld.) · GRAVURE (fra.) · INTAGLIO (ita.) · KUPFERSTECHER-KUNST (deu.) · KUPFERSTICH (deu.) · PRENT (nld.) · RADIERKUNST (deu.) · RADIERUNG (deu.) · STICH (deu.)
GRAVURE (fra.)
CASTEX, Jean-Gérald, « Réduire la gravure en art et en principes. Lecture et réception du "Traité des manières de graver" d’Abraham Bosse », dans VÉRIN, Hélène et DUBOURG GLATIGNY, Pascal (éd.), Réduire en art : la technologie de la Renaissance aux Lumières, Paris, Éd. de la Maison des sciences de l’homme, 2008, p. 235-248.
GRAMACCINI, Norberto, Theorie der französischen Druckgraphik im 18. Jahrhundert. Eine Quellenanthologie, Berne, Lang, 1997.
GRIFFITHS, Antony, « John Evelyn and the Print », dans HARRIS, Frances et HUNTER, Michael (éd.), John Evelyn and his Milieu, London, The British Library, 2003, p. 95-113.
HERBERT, Flora, « GRAVURE / ESTAMPE », dans HECK, Michèle-Caroline (éd.), LexArt. Les mots de la peinture (France, Allemagne, Angleterre, Pays-Bas, 1600-1750) [édition anglaise, 2018], Montpellier, Presses Universitaires de la Méditerranée, 2018, p. 240-245.
RAUX, Sophie, SURLAPIERRE, Nicolas et TONNEAU-RYCKELYNCK, Dominique (éd.), L’estampe, un art multiple à la portée de tous ?, Actes de colloque de Lille, Villeneuve-d’Ascq, Presses universitaires du Septentrion, 2008.
RÜMELIN, Christian, « Stichtheorie und Graphikverständnis im 18. Jahrhundert », Artibus et Historiae, 22/44, 2001, p. 187-200 [En ligne : http://www.jstor.org/stable/1483719?seq=1#page_scan_tab_contents consulté le 26/10/2015].



3 sources
3 quotations


Of Graving.
It is possible for one to be a good Painter, and yet not to be able to draw well with the pen, because there is not required in a Painter such a curious and exact carriage of the hand : but it is impossible for one ever to Grave or Etch well, except he can draw well with the pen. First therefore presupposing you can doe the first before you attempt the second, you must provide divers graving tooles, both long and short : some for hard worke, some for sweet worke, some for smaller worke, and some for greater: also a peece of a Beaver hat, and a good oyle stone, smoothed on one side, and free from pin holes, and plates of Copper or Brasse exactly polished.

Conceptual field(s)

L’ARTISTE → apprentissage
MATERIALITE DE L’ŒUVRE → technique de la gravure


Sect. I.
Of necessary Instruments belonging to Graving.
He that will undertake the Art of Graving, must know how to Draw, and hatch with a Pen ; which, I doubt not, but he that hath observed the former Rules can do.

1. Of your Oyl-stone.
The first thing you are to do, is to provide a good Oyl-stone, which you may have of those that sell several Tools for the
Goldsmiths ; which, let be very smooth, not too hard nor too soft, and be sure it be without pin-holes. Now to fit your self aright, you are to resolve what kind of Graving you will follow ; if you follow Picture or Letter-work, that is a work more curious than the Goldsmiths : Arms and Letters are upon Silver or Pewter, and accordingly your Gravers must be shap’d.

Of Gravers
Goldsmiths Gravers are crooked, that they may more readily come at hollow work ; but for Copper-pictures or Letters, the best Gravers are the straight, which chuse thus ; Take a File and touch the edge of the Graver therewith, if the File cut it, it is too soft, and will never do you good ; but if the File will not touch it by reason of the hardness, it will serve your occasion, although such a Graver be apt at first to break short off, after a little use by whetting it will come to a good temper, and condition, as by experience I have found ; though some ignorant of what they have writ, would puzzle you about altering the temper.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la gravure