See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

WILLIAM See also:

• WILLIAM STRANG (1859- )

STRANG (1859- )  , See also:

• ENGLISH

English painter and en-graver, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• DUMBARTON

Dumbarton, N.B., on the 13th of See also:

• FEBRUARY

February 1859, the son of See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter See also:

• STRANG, WILLIAM (1859- )

Strang, builder . He was educated at the Dumbarton See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, and worked for fifteen months in the counting-See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of a See also:

• FIRM

firm of shipbuilders . He went to See also:

• LONDON

London in 1875 when he was sixteen, and studied his See also:

• ART

art under See also:

• ALPHONSE, COUNT OF TOULOUSE AND OF POITIERS (I220-1271)

Alphonse See also:

• LEGROS, ALPHONSE (1837– )

Legros at the See also:

• SLADE, FELIX (170o-1868)

Slade School for six years . Strang became assistant See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master in the See also:

• ETCHING (Dutch, etsen, to eat)

etching class, and himself followed this art with See also:

• GREAT

great success . He was one of the See also:

• ORIGINAL

original members of the Royal Society of Painter-Etchers, and exhibited at their first See also:

• EXHIBITION

exhibition in 1881 . Some of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early plates were published in the See also:

• PORTFOLIO (shortened form of Porto folio, adapted from the Ital. portafogli, portare, to carry, and fogli, sheets or leaves of paper, Lat. folium, leaf)

Portfolio and other art magazines . He worked in many See also:

• MANNERS, CHARLES (1857– )

manners, etching, dry point, See also:

• MEZZOTINT

mezzotint, See also:

• SAND
• SAND, GEORGE (1804-1876)

sand-ground mezzotint, and burin See also:

• ENGRAVING

engraving, and invented a draw-burin of his own . See also:

• LITHOGRAPHY (Gr. MOOS, a stone, and ypakecv, to write)

Lithography and See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-cutting were also used by him to re-produce his abundant imaginings . He cut a large wood-engraving of a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man ploughing, that has been published by the Art for See also:

• SCHOOLS

Schools Association . A privately produced See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue of his engraved See also:

• WORK

work contains more than three See also:

• HUNDRED

hundred items . Amongst his earlier See also:

• WORKS

works " Tinkers," " St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome," " A Woman washing her Feet," an " Old See also:

• BOOK

Book-See also:

• STALL (0. Eng. steall, stael, cf. Du. stal, Ger. and Swed. Stall, a common Teutonic word for a place, station, place for standing in; the root is the Indo-European std–, to stand, seen also in Latin stabulum, Greek vraO bs, and in stallion, an entire hors

stall with a man See also:

• LIGHTING

lighting his See also:

• PIPE

pipe from a flare," and " The See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of a See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

Peasant Woman," on a sand-ground mezzotint, may be remembered . Later plates such as " See also:

• HUNGER

Hunger," " The See also:

• BACHELOR (from Med. Lat. baccalarius, with its late and rare variant baccalaris—cf. Ital. baccalare—through O. Fr. bacheler)

Bachelor's End " and " The Salvation See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

Army " cannot be forgotten .

Some of his best etchings have been in See also:

• SERIES (a Latin word from serere, to join)

series; one of the earliest, illustrating See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• NICHOLSON, HENRY ALLEYNE (1844-1899)
• NICHOLSON, JOHN (1822-18J7)
• NICHOLSON, WILLIAM (1753-1815)
• NICHOLSON, WILLIAM (1784-1844)

Nicholson's ballad of " See also:

• AKEN

Aken See also:

• DRUM (early forms drome or dromme, a word common to many Teut. languages, cf. Dan. tromme, Ger. Trommel: the word is ultimately the same as " trumpet," and is probably onomatopoeic in origin; it appears late in Eng. about the middle of the 16th century)

Drum," is remarkable for delicate and clear workmanship in the See also:

• SHADOW (0. Eng. Schadewe, sceadu; a form of " shade "; connected with Gr. 6-Ore's, darkness)

shadow tones, showing great skill and See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power over his materials, and for strong See also:

• DRAWING

drawing . Another See also:

• GOOD, JOHN MASON (1764-1827)

good series was the " See also:

• PILGRIM

Pilgrim's Progress," revealing austere sympathy with See also:

• BUNYAN, JOHN (1628-1688)

Bunyan's teaching . See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (1772-1834)
• COLERIDGE, SARA (1802–1852)
• COLERIDGE, SIR JOHN TAYLOR (1790-1876)

Coleridge's " See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

Ancient Mariner " and Strang's own " See also:

• ALLEGORY (iXXos, other, and ayopeuav, to speak)

Allegory of See also:

• DEATH

Death " and the Plowman's Wife," have served him with suitable imaginative subjects . Some of Rudyard See also:

• KIPLING, RUDYARD (1865— )

Kipling's stories have been illustrated by him, too, and Strang's portrait of Kipling has been one of his most successful portrait plates . Other good etched portraits are of Mr Ernest Sichel, See also:

• FINE

fine as a Vandyck, and of Mr J . B . See also:

• CLARK, FRANCIS EDWARD (1851- )
• CLARK, GEORGE ROGERS (1752—1818)
• CLARK, JOHN BATES (1847— )
• CLARK, JOSIAH LATIMER (1822—1898)
• CLARK, SIR ANDREW
• CLARK, SIR JAMES (1788—1870)
• CLARK, THOMAS (1801—1867)
• CLARK, WILLIAM (1770-1838)
• CLARK, WILLIAM GEORGE (1821—1878)

Clark, with whom Strang collaborated in illustrating See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron See also:

• MUNCHAUSEN, BARON

Munchausen and Sinbad the Sailor and See also:

• ALI

Ali Baba, published in 1895 and 1896 . See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• HARDY, ALEXANDRE (1569?-1631)
• HARDY, SIR THOMAS DUFFUS (1804-1878)
• HARDY, SIR THOMAS MASTERMAN
• HARDY, THOMAS (1840- )

Hardy, See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• NEWBOLT, HENRY JOHN (1862- )

Newbolt and many other distinguished men also sat to him . Proofs from these plates have been much valued; in fact, Strang's portrait etchings have inaugurated a new See also:

• FORM (Lat. forma)

form of reproductive See also:

• PORTRAITURE

portraiture . A portrait which is a work of art and can be reproduced a number of times without losing any of its art qualities is one ideal way of recording appearances, as such prints can be treasured by many owners . Strang produced a number of good paintings, portraits, nude figures in landscapes, and See also:

• GROUPS
• GROUPS, THEORY

groups of peasant families, which have been exhibited in the Royal Academy, the See also:

• INTERNATIONAL, THE

International Society, and several See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German exhibitions . He painted a decorative seriesof scenes from the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and See also:

• EVE

Eve for the library of Mr See also:

• HODSON, WILLIAM STEPHEN RAIKES (1821-1858)

Hodson of See also:

• WOLVERHAMPTON
• WOLVERHAMPTON, HENRY HARTLEY FOWLER

Wolverhampton; they were exhibited at the Whitechapel exhibition in 191o .

Some of his drawings from the nude See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model in See also:

• SILVER

silver point and red and See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black See also:

• CHALK

chalk are very beautiful as well as powerful and true . He also painted a number of landscapes, mostly of a small See also:

• SIZE

size . In later years he See also:

• DEVELOPED

developed a See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of drawing in red and black chalk, with the whites and high See also:

• LIGHTS, CEREMONIAL USE OF

lights rubbed out, on See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper stained with See also:

• WATER

water See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . This method gives qualities of ,delicate modelling and refined form and gradations akin to the drawings of See also:

• HOLBEIN, HANS

Holbein . He See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew portraits in this manner of many members of the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

Order of Merit for the royal library at See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle . In 1902 Strang retired from the Royal Society of Painter-Etchers, as a protest against the inclusion in its exhibitions of etched or engraved reproductions of pictures . His work was subsequently seen principally in the exhibitions of the Society of Twelve, of the International Society, to which See also:

• BODY

body he was elected in 1905, and of the Royal Academy . Strang was elected an See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate engraver of the Royal Academy when that degree was wisely revived in 1906 . (C .