The Concise Oxford Dictionary of Art and Artists (145 page)
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Authors: Ian Chilvers
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Drost , Willem
(active mid 17th cent.).
Dutch painter. Almost nothing is known of his life, and only about half a dozen paintings (and an even smaller number of etchings) are recognized as being by him. All the works that are dated are of the 1650s, and it would seem that at this time Drost was one of
Rembrandt's
closest and most talented followers. His
Portrait of a Young Woman
in the Wallace Collection, London, bears a false Rembrandt signature.
Dutch painter. Almost nothing is known of his life, and only about half a dozen paintings (and an even smaller number of etchings) are recognized as being by him. All the works that are dated are of the 1650s, and it would seem that at this time Drost was one of
Rembrandt's
closest and most talented followers. His
Portrait of a Young Woman
in the Wallace Collection, London, bears a false Rembrandt signature.
Drouais , François-Hubert
(1727–75).
French portrait painter. He trained under
Boucher
(among others) and became a rival to
Nattier
as a fashionable portraitist. His portraits have a gracious and artificial charm and at their best bear comparison with those of Boucher. He was particularly successful with children, but his best-known painting is probably the very grand portrait of Mme de Pompadour in the National Gallery, London (1763–4), completed after the sitter's death. His father and his son were painters.
Hubert Drouais
(1699–1767) had a successful career as a
miniaturist
and
pastel
portraitist.
Germain Drouais
(1763–88) was a favourite pupil of
David's
and won the
Prix de Rome
, but his promising career was cut short when he died of malaria aged 25.
French portrait painter. He trained under
Boucher
(among others) and became a rival to
Nattier
as a fashionable portraitist. His portraits have a gracious and artificial charm and at their best bear comparison with those of Boucher. He was particularly successful with children, but his best-known painting is probably the very grand portrait of Mme de Pompadour in the National Gallery, London (1763–4), completed after the sitter's death. His father and his son were painters.
Hubert Drouais
(1699–1767) had a successful career as a
miniaturist
and
pastel
portraitist.
Germain Drouais
(1763–88) was a favourite pupil of
David's
and won the
Prix de Rome
, but his promising career was cut short when he died of malaria aged 25.
Drummond , Malcolm
.
.
Drury , Alfred
.
.
drying oils
.
.
Fatty oils of vegetable origin which harden into a solid transparent substance on exposure to air and are much used as
vehicles
in paints and varnishes. They do not dry in the sense of losing moisture, but by oxidation together with certain molecular changes. The vegetable oils which have been in commonest use since the Middle Ages are
linseed
,
walnut
, and
poppy
. Almond and olive oil are not suitable as they do not harden. Sunflower oil has been used in Russia but has never become popular.
vehicles
in paints and varnishes. They do not dry in the sense of losing moisture, but by oxidation together with certain molecular changes. The vegetable oils which have been in commonest use since the Middle Ages are
linseed
,
walnut
, and
poppy
. Almond and olive oil are not suitable as they do not harden. Sunflower oil has been used in Russia but has never become popular.
drypoint
.
.
A method of engraving on copper in which the design is scratched directly into the plate with a sharp tool that is held like a pen. It is a more spontaneous technique than
line engraving
, but not so fluent as
etching
. A distinctive feature of drypoint is the ‘burr’ or rough, upturned edge of the furrow made by the cutting tool. This produces a soft, rich quality in the print, but because it soon wears down only a limited number of good impressions can be taken. Drypoint, which seems to have originated in the last quarter of the 15th cent., has often been used in combination with other processes;
Rembrandt
, for example, often touched up his etchings in drypoint. He also made a few prints purely in drypoint, notably one of his most celebrated works,
The Three Crosses
.
line engraving
, but not so fluent as
etching
. A distinctive feature of drypoint is the ‘burr’ or rough, upturned edge of the furrow made by the cutting tool. This produces a soft, rich quality in the print, but because it soon wears down only a limited number of good impressions can be taken. Drypoint, which seems to have originated in the last quarter of the 15th cent., has often been used in combination with other processes;
Rembrandt
, for example, often touched up his etchings in drypoint. He also made a few prints purely in drypoint, notably one of his most celebrated works,
The Three Crosses
.
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