It is hard to select the single factor that makes The Engraver’s Daughter by Agostino Lauro (1806–1876) so strikingly unusual in the history of engraving, but perhaps the rendering of the leaves is a good place to start. There are thousands of individual leaves and leaflets in the densely wooded forest setting, and exceptional attention has been paid to botanical morphology. We can clearly understand the growth patterns, vascular systems and relative maturity of every segment of each of the many species depicted. As the layers of space recede into the darkness of the forest, this sharp focus is maintained. In this, Lauro’s print departs from all other graphic depictions of massed foliage: instead of schematic rendering, generalization and stylization he offers startling specificity.
Paul Coldwell: Temporarily Accessioned
- by Stephan Doering
- On Paul Coldwell's work "Temporarily Accessioned"
Hidden Lights: Sir John Soane’s Piranesis
- by Owen Hopkins
- Owen Hopkins on the effect of four Piranesi prints on the elusive architecture of Sir John Soane.
- by Roger Kneebone
- Surgeon Roger Kneebone examines the depiction of medical care in Barbara Hepworth’s Concourse 2 (1948)
On Louise Bourgeois’ The Reticent Child and Shame
- by Tanja Staechler
- Tanja Staehler and Phineas Jennings on Louise Bourgeois
Recommended Reading for the Print-Curious PART II
- by Susan Tallman
- Part II of our recommended books on prints