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Evesham, where he remained for two years; but ultimately he decided, on his own responsibility, to abandon the legal profession and became apupil of a See also:

LINE

line engraver at See also:

Worcester. In 1765 he migrated to See also:

LONDON

London and began See also:

WORK

work as a See also:

MEZZOTINT

mezzotint engraver, having taught himself the technicalities of this See also:

art, and quickly See also:

rose to a position in absolutely the front See also:

RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of British engravers. He became a member of the Incorporated Society of Artists in 1767, an See also:

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

associate-engraver of the Royal See also:

Academy in 1775, and for some See also:

FORTY

forty years he followed his profession with the greatest success. The exclusive right of See also:

ENGRAVING

engraving and See also:

PUBLISHING

publishing plates from the pictures in the See also:

DUSSELDORF

Dusseldorf See also:

GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery was granted him by the See also:

DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

BAVARIA (Ger. Bayern)

Bavaria in 1789, but, after he had issued more than twenty of these plates, the See also:

SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege of that See also:

CITY (through Fr. cite, from Lat. civitas)

city by the See also:

French put an end to this undertaking and caused him serious See also:

FINANCIAL

financial loss. From this cause, and through the failure of certain other speculations, he was reduced to poverty; and in consequence he took the See also:

POST

post of keeper of the British Institutionin 18o5, and continued in this office for the See also:

REMAINDER, REVERSION

remainder of his See also:

LIFE

life. During his career as an engraver he produced some four See also:

HUNDRED

hundred plates after portraits by See also:

Reynolds, See also:

Romney, and other British artists, after the compositions of See also:

Benjamin See also:

West, and after pictures by See also:

Van Dyck, See also:

RUBENS, PETER PAUL (1577-164o)

Rubens, See also:

MURILLO, BARTOLOME ESTEBAN (1617-1682)

Murillo, and other old masters. It is claimed for him that he was one of the first engravers to show how admirably mezzotint could be applied to the See also:

TRANSLATION

translation of pictorial compositions as well as portraits, but at the See also:

PRESENT

present See also:

time it is to his portraits that most See also:

ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention is given by collectors. His engravings are distinguished by exceptional richness and subtlety of See also:

TONE, THEOBALD WOLFE (1763-1798)

tone, and by very judicious management of relations of Iight and shade; and they have, almost without exception, notable freshness and See also:

grace of handling. See Valentine Green, by See also:

ALFRED

Alfred See also:

Whitman (London, 1902).

End of Article: GREEN, VALENTINE (1739–1813)

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GREEN, WILLIAM HENRY (.1825–1900)