Work
Shestack divides the engravings of E. S. into three stylistic periods: around 1450, up to 1460, and after 1460. During the second period he made significant technical developments. Firstly, deeper incisions with the burin, which allowed more impressions to be taken from each plate, although the number still may have been limited to about sixty or so, before wear on the plate began to show and reworking was necessary for it to be used again. His use of hatching (parallel lines) and cross-hatching to depict shading and volume, steadily grew more sophisticated and his figure-drawing became more confident, sometimes overconfident. Many figures of this period have contorted poses even when at rest. In works from the third period, his figures are more relaxed and flat surfaces are given prominence in the compositions.
Many faces of his subjects have a rather pudding-like appearance, and are overly-large for their bodies, which diminishes the quality of otherwise, fine works. Much of his work still has great charm, and the secular and comic subjects he engraved are rarely found in the surviving painting of the period.
Lehrs catalogues three hundred and eighteen engravings by E. S. and of these, ninety-five are unique, and fifty exist in only two impressions (copies). There are a further thirty-eight engravings by his probable assistant, Israhel van Meckenem, which are considered to be copies of engravings by E. S. which have not survived. In total, Shestack estimates, there may have been about five hundred engravings by E. S.
Read more about this topic: Master E. S.
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