The Return Home
From The Carfax Portfolio 1904.
‘The Return Home’ is the last of the 1830 engravings. It shows a weary shepherd, crook in hand, being borne on the back of a donkey. His wife awaits him in the doorway of his cottage at the distant end of the track along which he is riding... Apart from its obvious spiritual affinities with Blake’s Virgil engravings, the most memorable thing about this little engraving is its texture... It is almost pointillism, if the term may be applied to a composition in black and white.
‘The Return Home’ is the last of the 1830 engravings. It shows a weary shepherd, crook in hand, being borne on the back of a donkey. His wife awaits him in the doorway of his cottage at the distant end of the track along which he is riding... Apart from its obvious spiritual affinities with Blake’s Virgil engravings, the most memorable thing about this little engraving is its texture... It is almost pointillism, if the term may be applied to a composition in black and white.
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Description
From The Carfax Portfolio 1904.
‘The Return Home’ is the last of the 1830 engravings. It shows a weary shepherd, crook in hand, being borne on the back of a donkey. His wife awaits him in the doorway of his cottage at the distant end of the track along which he is riding... Apart from its obvious spiritual affinities with Blake’s Virgil engravings, the most memorable thing about this little engraving is its texture... It is almost pointillism, if the term may be applied to a composition in black and white.
‘The Return Home’ is the last of the 1830 engravings. It shows a weary shepherd, crook in hand, being borne on the back of a donkey. His wife awaits him in the doorway of his cottage at the distant end of the track along which he is riding... Apart from its obvious spiritual affinities with Blake’s Virgil engravings, the most memorable thing about this little engraving is its texture... It is almost pointillism, if the term may be applied to a composition in black and white.
