ANTONI WATERLOO
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1609 Lille – Utrecht 1690
Tobias and the Angel. Ca 1650 Etching. 29.1 x 24.8 cm T.I.B. Bd. 2.1 Commentary 134 S2; Hollstein 134/II Watermark: arms of Amsterdam Provenance: private collection, Germany
One of the so-called ‘master sheets’ by the artist from a series of six large landscapes having vertical formats and based on Old Testament subjects in a very beautiful impression. The earliest attainable state, with the artist’s address on the lower left, given that the 1st state has been documented only as a unicum in London. In a f lawlessly fresh state of preservation. In in his Essay on Prints, published in 1792, William Gilpin fairly raves when confronted with Waterloo’s Tobias: The composition is very pleasing. The tree on the fore-ground, spreading over the top of the print, and sloping to a point at the bottom, give the beautiful form of an inverted pyramid; which, in trees especially, has often a fine effect. To this form the inclined plane, on which the figures stand, and which is beautifully broken, is a good contrast. The rock approaches to a perpendicular, and the distance to a horizontal line. All together make such a combination of beautiful and contrasting shapes, that the whole is very pleasing… The keeping is very accurate… The execution is exceedingly beautiful. No artist had a happier manner of expressing trees than WATERLOO; and the tree before us is one of his capital works. The shape of it we have already criticized. The bole and ramification are as beautiful as the shape. The foliage, if I were not afraid of speaking the language of extravagance, seems the work of enchantment. Such a union of strength and lightness is rarely found. The extremities are touched with infinite tenderness; the strong masses of light are relieved with shadows equally strong; and yet great ease and softness are preserved. The foreground is highly en riched; and indeed the whole print, and every part of it, is full of art, and full of nature.
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