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Updated: May 11, 2025
He is a temperament impressionable to the sun, air, trees, children, women, men, cattle, landscapes, the ocean. Such swift, vivid notation of the fluid life about him is rare; it would be photographic were it not the personal memoranda of a selecting eye; it would be transitory impressionism were it not for a hand magical in its manipulation of pigments. Brain and brush collaborate with an instantaneity that does not perplex because the result is so convincing. We do not intend to quote that musty flower of rhetoric which was a favourite with our grandfathers. It was the fashion then to say that Nature capitalised took the brush from the hand of the painter, meaning some old duffer who saw varnish instead of clear colour, and painted the picture for him. Sorolla is receptive; he does not attempt to impose upon nature an arbitrary pattern, but he sees nature with his own eyes, modified by the thousand subtle experiences in which he has steeped his brain. He has the tact of omission very well developed. After years of labour he has achieved a personal vision. It is so completely his that to copy it would be to perpetrate a burlesque. He employs ploys the divisional taches of Monet, spots, cross-hatchings, big sabre-like strokes
Men and women of his own generation used to say that save for the wrinkles ever multiplying in close cross-hatchings about his puckered eyes, and save for the enhancing of that dead gray pallor the wasp's-nest overcasting of his skin he still looked to them exactly as he had looked when he was a much younger man.
Men and women of his own generation used to say that save for the wrinkles ever multiplying in close cross-hatchings about his puckered eyes, and save for the enhancing of that dead gray pallor the wasp's-nest overcasting of his skin he still looked to them exactly as he had looked when he was a much younger man.
The moon, nearly full, swung directly before us, pouring its gracious light through the tenuous cross-hatchings of the pecans, nestling it in the dense tops of the cedars and magnolias and sprinkling it to the ground among the lower growths and between their green-black shadows.
Just as in a good chalk drawing the strokes and cross-hatchings are put in with method, and if well done produce the effect of something solid, so in carving, the tool marks should emphasize the drawing without in any way calling attention to themselves.
Some painters illustrators, if you please, in those early days in fact, made their original designs direct upon the wood. The effects of light and dark were then cut out in lines, curved or otherwise, with suitable cross-hatchings, as the necessity of the drawing required, or left comparatively untouched. It is not my purpose to discuss here the different merits of the different schools.
He printed, in 1493, that grand volume, the Nuremberg Chronicle, which is illustrated with upward of one thousand woodcuts by Michael Wohlgemuth, the master of Albert Dürer, and is curious as being one of the first books in which cross-hatchings occur in wood-engraving.
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