DOCSLIB.ORG

Pieter Bruegel, Philip Galle E Hieronymus Cock Na Impressão De As Sete Virtudes (1559- 1560): Rede De Impressores E Confessionalização Nos Países Baixos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pieter Bruegel, Philip Galle E Hieronymus Cock Na Impressão De As Sete Virtudes (1559- 1560): Rede De Impressores E Confessionalização Nos Países Baixos UNIVERSIDADE FEDERAL DE SÃO PAULO ESCOLA DE FILOSOFIA LETRAS E CIÊNCIAS HUMANAS, CAMPUS GUARULHOS DEPARTAMENTO DE HISTÓRIA MARIANA STEFANNY MOISÉS DUZZI Pieter Bruegel, Philip Galle e Hieronymus Cock na impressão de As sete virtudes (1559- 1560): rede de impressores e Confessionalização nos Países Baixos Trabalho de conclusão de curso apresentado à Universidade Federal de São Paulo como requisito parcial para obtenção do título de Licenciatura em História. Orientação: Prof. Dr. Luís Filipe Silvério Lima GUARULHOS 2021 1 MARIANA STEFANNY MOISES DUZZI PIETER BRUEGEL, PHILIP GALLE E HIRONYMUS COCK NA IMPRESSÃO DE AS SETE VIRTUDES (1559-1560): REDE DE IMPRESSORES E CONFESSIONALIZAÇÃO NOS PAÍSES BAIXOS Trabalho de conclusão de curso, sob orientação do Prof. Dr. Luís Filipe Silvério Lima, apresentado à Universidade Federal de São Paulo como requisito parcial para obtenção do título de Licenciatura em História. GUARULHOS 2021 2 DUZZI, Mariana Stefanny Moises. Pieter Bruegel, Philip Galle e Hieronymus Cock na impressão de As sete virtudes (1559-1560): rede de impressores e Confessionalização nos Países Baixos. Mariana Stefanny Moises Duzzi. – 2021. Trabalho de conclusão de curso (Licenciatura em História) – Universidade Federal de São Paulo, Escola de Filosofia, Letras e Ciências Humanas, Guarulhos, 2021. Orientação: Prof. Dr. Luís Filipe Silvério Lima. 1 Virtudes; 2. Gravuras; 3. Confessionalização. 4. Redes de impressores 3 PIETER BRUEGEL, PHILIP GALLE E HIRONYMUS COCK NA IMPRESSÃO DE AS SETE VIRTUDES (1559-1560): REDE DE IMPRESSORES E CONFESSIONALIZAÇÃO NOS PAÍSES BAIXOS Trabalho de conclusão de curso, sob orientação do Prof. Dr. Luís Filipe Silvério Lima, apresentado à Universidade Federal de São Paulo como requisito parcial para obtenção do título de Licenciatura em História. Aprovação: ___/___/_______ Prof. Dr. Luís Filipe Silvério Lima Universidade Federal de São Paulo Prof. Dra. Flávia Galli Tastch Universidade Federal de São Paulo Prof. Dr. Rui Rodrigues Universidade Estadual de Campinas 4 Ao meu bisavô, Cesário (in memoriam) 5 AGRADECIMENTOS Escrever a monografia durante a pandemia me fez repensar e valorizar ainda mais os laços, os afetos e o companheirismo de tantas pessoas incríveis que tornaram meus dias melhores. É um privilégio poder me cercar de amigos que se fizeram presente nos momentos bons e nos mais difíceis. Em especial, agradeço ao meu professor e orientador, Luís Filipe Silvério Lima, que me apresentou a área de História Moderna. Obrigada por sua amizade, conselhos, orientações profissionais, aulas sensacionais e histórias engraçadas. Agradeço também ao professor Rui Rodrigues, da Unicamp, que prontamente ofereceu caminhos para o desenvolvimento dessa pesquisa e também sua continuidade. Obrigada, professores Jaime Rodrigues e Denilson Botelho, pela orientação e todos os momentos compartilhados durante minha participação no grupo PET- História. Agradeço, igualmente, aos demais professores da EFLCH e todos os funcionários da Unifesp, especialmente às mulheres que trabalharam no Restaurante Universitário, que permitiram que a vida de uma estudante fosse mais prática e feliz. Agradeço aos meus veteranos e amigos mais próximos, Marcos e Elias, que compartilharam comigo a aflição das provas e o prazer de comemorar cada tarefa cumprida. Aos meus colegas de turma, Flora, Thamyres e Matheus, pela amizade e cumplicidade. Ao meu querido amigo, Danilo, alguém que tenho muito carinho e me ajudou a estar hoje na Unifesp. Às minhas amigas que moram comigo, Bruna, Juliana, Julia, obrigada por compartilhar comigo os momentos mais pessoais possíveis e, especialmente, obrigada pelo carinho, pelas trocas e todo apoio. Às minhas amigas queridas, Bianca e Gabrielle, agradeço pela amizade mais sincera e divertida, pelas conversas, agora adaptadas por ligação e, principalmente, por estarem sempre por perto. Também agradeço aos meus colegas do grupo de pesquisa ‘Poder e religião na Época Moderna’, Aline, Lury, Beatriz, Heloíse, Mayumi, Bruno, Bruna, Lívia, com um agradecimento especial à Verônica, que me ajudou em tantos momentos durante o desenvolvimento dessa pesquisa; à minha amiga Victoria, cuja amizade é um verdadeiro acalanto - somos uma ótima dupla de trabalho e de amizade; e ao meu companheiro, Vinícius, por me ajudar a passar pelos momentos mais difíceis, por compartilhar sonhos e projetos e tornar a vida mais especial possível. Por fim, agradeço a minha família – meu pai, minha mãe, minha irmã, meu avô e meu tio e minha vó, com todo carinho do mundo-, que sempre me estimulou a estudar e me permitiu acreditar que a vida poderia ser diferente. Dedico, por fim, um imenso agradecimento e que seja viva toda memória à professora Márcia D’Aléssio, que foi uma mulher admirável e certamente uma das melhores professoras que eu tive o prazer em ter aula, e ao meu bisavô, Cesário Estevam, que foi um homem forte, sagaz e que me ensinou a importância da honestidade e do trabalho. Que suas lembranças estejam sempre presentes! 6 RESUMO Nessa pesquisa monográfica, investigamos as representações iconográficas das virtudes cardeais e teologais na série de gravuras As sete virtudes, publicada por Hieronymus Cock, entre 1559 e 1560 em Antuérpia, a partir dos desenhos de Pieter Bruegel e das gravações de Philip Galle. A série representa as alegorias de Caridade, Esperança e Fé, como virtudes teologais, e de Prudência, Justiça, Fortaleza, Temperança, como virtudes cardeais. Nosso interesse tem sido explorar a mudança iconográfica nas representações de virtude a partir das disputas confessionais das décadas de 1550 e 1560, bem como problematizar se essas disputas projetaram uma mudança na iconografia de As sete virtudes. Baseado em análises iconográficas, textuais e materiais da série, bem como processo de produção coletiva, impressão e circulação das gravuras, propomos que a As sete virtudes se constituiu como exemplar retórico-visual pedagógico e catequético, que propunha um modelo prático e didático de vida em virtude, supostamente alinhado a uma chave erasmiana de espiritualidade. Por seu turno, esses objetos manifestavam opiniões político-religiosas específicas diante dos processos mais rígidos de disciplinamento social e Confessionalização, da segunda metade do século XVI. Palavras Chave: virtudes, gravuras, Confesssionalização, redes de impressores ABSTRACT In this monographic research, we investigated the iconographic representations of the cardinal and theological virtues in the series of engravings The Seven Virtues, published by Hieronymus Cock, between 1559 and 1560 in Antwerp, from the drawings of Pieter Bruegel and the copper plates of Philip Galle. The series represents the allegories of Charity, Hope and Faith, as theological virtues, and Prudence, Justice, Fortitude, Temperance, as cardinal virtues. Our interest has been to explore the iconographic change in representations of virtue from the confessional disputes of the 1550s and 1560s, as well as to question whether these disputes projected a change in the iconography of The Seven Virtues. Based on iconographic, textual and material analyses of the series, as well as the collective production process, printing and circulation of the engravings, we propose that The Seven Virtues constituted itself as a pedagogical and catechetical rhetorical-visual example, which proposed a practical and didactic model of life in virtue, supposedly related to the appropriation of erasmian humanism. In turn, these objects expressed specific political-religious opinions in face of the stricter processes of social discipline and Confessionalization, of the second half of the 16th century. Keywords: virtues, engravings, Confessionalization, printer networks. 7 Sumário Introdução ................................................................................................................................. 10 Capítulo 1: Pieter Bruegel, Philip Galle e Hieronymus Cock: mercado editorial e redes de impressão em Antuérpia e Haarlem ........................................................................................ 17 a. Aux Quatre Vents: guilda de São Lucas e censura ......................................................... 19 b. Redes de impressão: uma revisão da noção de autoria....................................................21 Capítulo 2: As sete virtudes: balanço bibliográfico e iconografia das virtudes ....................... 26 a. Balanço bibliográfico.......................................................................................................28 b. Gravuras de As sete virtudes: visualidade, textualidade e aspectos materiais.................30 I. Charitas ...................................................................................................................... 32 II. Spes.............................................................................................................................39 III. Fides...........................................................................................................................44 IV. Prvdentia....................................................................................................................51 V. Ivstitia.........................................................................................................................55 VI. Fortitvto......................................................................................................................62 VII. Temperantia................................................................................................................68 Capítulo
Load more

Recommended publications
  • 350 Jaar Academie Voor Schone Kunsten in Antwerpen
    350 jaar Academie voor Schone Kunsten in Antwerpen Academie tussen toekomst en traditie Tot voor kort werden kunstacademies nogal meewarig bekeken Niet alleen de overheid legt de academie nieuwe eisen op. De door de actoren van de hedendaagse kunstwereld. De heden- snel evoluerende en zich globaal uitbreidende kunstmarkt stelt daagse kunst leek zich voorgoed bevrijd te hebben van de acade- de academie voor grote uitdagingen. Europa en de V.S. hebben mische ballast en van klassieke vaardigheden als tekenen, boet- hun culturele monopolie al een tijd geleden moeten afstaan. seren en schilderen. Sommige kunstscholen straalden bovendien De impact van de snelle technologische ontwikkelingen op de een nogal zelfgenoegzaam en behoudsgezind karakter uit. De maatschappij neemt zienderogen toe. In tijden van besparingen snelle artistieke ontwikkelingen van de jaren zestig en zeventig en bezuinigingen wordt kunst wel eens als elitair en luxueus be- leken aan hen voorbij gegaan te zijn. Ze leken zich te koesteren in schouwd. Dient een academie die kan terugblikken op 350 jaar hun ‘splendid isolation’. En, zo werd in de kunstwereld wel eens geschiedenis zich te laten leiden door de omstandigheden of kan geopperd, kunst valt toch niet aan te leren? ze zich permitteren haar eigen plaats te bepalen? Moet ze een Sinds het begin van de 21ste eeuw is daar echter verandering rots in de branding zijn, of een schip op zee? Kan de gedurende in gekomen. De hedendaagse kunstpraktijk had in de jaren ne- eeuwen opgebouwde expertise daarbij op een relevante wijze in- gentig meer oog gekregen voor interactie, onderzoek en didacti- gezet worden of vormt ze eerder een ballast? Heeft de academie sche processen.
    [Show full text]
  • Illustrated Natural History
    Claudia Swan Illustrated Natural History The rise of printing and the inception of early modern natural history coincided in funda- mental ways, as amply suggested by the works brought together in this exhibition. This essay is concerned with a key area of overlap between the two practices — namely, visualization and illustration. Sixteenth- and seventeenth-century botanical images, anatomical treatises, and maps demonstrate the centrality of visual information in the pursuit of knowledge about the natural world. Early modern natural history was profoundly dependent on and generative of images, many of them replicable by way of print. Prints, like drawings, could enable identifi- cation and, in turn, use or classification of what they represented. Those engaged in medical study, for example, which involved the twin disciplines of botany and anatomy, encouraged the production of images for study and for medical use — pharmaceutical in the case of plants and pathological in the case of bodies. The case of botany is exemplary. The early modern era is often considered synonymous with the “Botanical Renaissance,” an efflorescence of projects and products whose chronology and lines of descent have been amply charted. This renaissance gained momentum toward the end of the fifteenth century, when printed illustrated works took over from manuscript production. During the first half of the sixteenth century the so-called “fathers of German botany” Otto Brunfels, Hieronymus Bock, and Leonhart Fuchs published volumes that consolidated a new mode of studying the plant world, characterized by, among other things, an amplified naturalism in the often copious illustrations that accompanied their texts (see cats.
    [Show full text]
  • VU Research Portal
    VU Research Portal Philips Galle (1537-1612): engraver and print publisher in Haarlem and Antwerp Sellink, M.S. 1997 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Sellink, M. S. (1997). Philips Galle (1537-1612): engraver and print publisher in Haarlem and Antwerp. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 08. Oct. 2021 MANFRED SELLINK PHILIPS GALLE (1537-1612) ENGRAVER AND PRINT PUBLISHER IN HAARLEM AND ANTWERP li NOTES/APPENDICES Notes Introduction 1. &igg5 1971, For further references on our knowledge of Netherlandish printmaking m general and Philips Galle in particular, see chapter 1, notes 32-33 and chapter 4, note 1. 2. Van den Bemden 1863. My research of a print acquired by the Rijksprentenkabinet in 1985 resulted in ail article on the collaboration between the Galle family and Johannes Stradanus on an abortive attempt to pro• duce a series of engraved illustrations for Dante's Divina Commedia (Seliink 1987) 3.
    [Show full text]
  • Annual Report 2000
    2000 ANNUAL REPORT NATIONAL GALLERY OF ART 2000 ylMMwa/ Copyright © 2001 Board of Trustees, Cover: Rotunda of the West Building. Photograph Details illustrated at section openings: by Robert Shelley National Gallery of Art, Washington. p. 5: Attributed to Jacques Androet Ducerceau I, All rights reserved. The 'Palais Tutelle' near Bordeaux, unknown date, pen Title Page: Charles Sheeler, Classic Landscape, 1931, and brown ink with brown wash, Ailsa Mellon oil on canvas, 63.5 x 81.9 cm, Collection of Mr. and Bruce Fund, 1971.46.1 This publication was produced by the Mrs. Barney A. Ebsworth, 2000.39.2 p. 7: Thomas Cole, Temple of Juno, Argrigentum, 1842, Editors Office, National Gallery of Art Photographic credits: Works in the collection of the graphite and white chalk on gray paper, John Davis Editor-in-Chief, Judy Metro National Gallery of Art have been photographed by Hatch Collection, Avalon Fund, 1981.4.3 Production Manager, Chris Vogel the department of photography and digital imaging. p. 9: Giovanni Paolo Panini, Interior of Saint Peter's Managing Editor, Tarn Curry Bryfogle Other photographs are by Robert Shelley (pages 12, Rome, c. 1754, oil on canvas, Ailsa Mellon Bruce 18, 22-23, 26, 70, 86, and 96). Fund, 1968.13.2 Editorial Assistant, Mariah Shay p. 13: Thomas Malton, Milsom Street in Bath, 1784, pen and gray and black ink with gray wash and Designed by Susan Lehmann, watercolor over graphite, Ailsa Mellon Bruce Fund, Washington, DC 1992.96.1 Printed by Schneidereith and Sons, p. 17: Christoffel Jegher after Sir Peter Paul Rubens, Baltimore, Maryland The Garden of Love, c.
    [Show full text]
  • Mlincoln Thesis Formatted
    ABSTRACT Title of Document: HENDRICK GOLTZIUS’S PROTEAN ICONOGRAPHY: 1582-1590 Matthew David Lincoln, Master of Arts, 2012 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology Karel van Mander famously characterized Goltzius as a “Proteus or Vertumnus of art”, a turn of phrase that has been taken to refer to his virtuosic skill at engraving in the styles of all the best masters. Often overlooked is the fact that Goltzius also conspicuously exercised his abilities as an iconographer in his early career as a print publisher. Between 1582, when he started his Haarlem print studio, and 1590, when he departed for Italy, Goltzius used classical rhetorical methods to construct innovative compositions. He thus promoted not only his skillful hand, but also his inventive and resourceful mind. This thesis considers Goltzius’s intellectual circles in Haarlem during this critical professional period, presents several case studies of his inventive iconographies, and concludes with two new interpretations of mythological artworks based on the artist’s rarely-acknowledged use of iconographic manuals and emblem books. HENDRICK GOLTZIUS’S PROTEAN ICONOGRAPHY: 1582-1590 By Matthew David Lincoln Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2012 Advisory Committee: Professor Arthur K. Wheelock, Jr., Chair Professor Anthony Colantuono Professor Meredith Gill © Copyright by Matthew David Lincoln 2012 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland College Park’s library collection.
    [Show full text]
  • Great Masters of European Printmaking Museo Franz Mayer Collection TRAVELING EXHIBITIONS
    TRAVELING EXHIBITIONS Great Masters of European Printmaking Museo Franz Mayer Collection TRAVELING EXHIBITIONS Great Masters of European Printmaking Museo Franz Mayer Collection This exhibition is composed of an outstanding selection of 90 prints from the 15th to 18th centuries by preeminent European artists, including Pieter Brueghel, Pieter van der Heyden, Albrecht Dürer, Lucas van Leyden, Lucas Cranach, Anton van Dyck, Rembrandt van Rijn, and Jan van de Velde II. Through six sections—“Print Techniques: Materials and Tools,” “The Artistic Defense of Printmaking,” “Printmaking and the Liberal Arts,” “The Representation of Everyday Life,” “Divine Time and Earthly Time,” and “Speaking with Images”—the exhibition introduces the technical innovations, aesthetic languages, theoretical reflections, thematic repertoires, and cultural impact of this revolutionary artistic discipline. Curator: Elsaris Núñez Méndez. Researcher in the Art of New Spain, Tania Vargas Díaz. Head of the Library and Documentary Holdings, Museo Franz Mayer Abraham Villavicencio. Head of Research, Museo Franz Mayer Number of Pieces: 90 pieces Number of thematic sections: 6 Space required: approximately 250–350 m² (2691–3768 ft.2) Available: starting in October 2020 For further information on traveling exhibitions please contact: Alejandro Sabido Director of Exhibitions and Research [email protected] 55 5518 2266 – ext. 257 E X P O SIC I ONE S ITIN E RANTES Albrecht Dürer (Nuremberg, Germanic Rembrandt Harmenszoon van Rijn States, 1471–1528) (Leiden, Netherlands, 1606–Amsterdam, Nemesis (The Great Fortune) Netherlands, 1669) Germanic States (Germany), Christ before Pilate (Ecce Homo) ca. 1502 Holland, ca. 1630–1636 Engraving Etching and engraving Pieter van der Heyden, engraver Lucas Van Leyden, (Leiden, Netherlands, (ca.
    [Show full text]
  • The Alchemist 1663 Oil on Canvas Mounted on Panel Overall: 35 × 28.6 Cm (13 3/4 × 11 1/4 In.) Inscription: Lower Right, in Gray Paint on Box: C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Cornelis Bega Dutch, 1631/1632 - 1664 The Alchemist 1663 oil on canvas mounted on panel overall: 35 × 28.6 cm (13 3/4 × 11 1/4 in.) Inscription: lower right, in gray paint on box: C. Bega Ao.1663 From the Collection of Ethel and Martin Wunsch 2013.34.1 ENTRY The alchemist, intently hunched over his work in a dark, simple interior, single- mindedly focuses on his chemical experiment. With his felt hat pulled down firmly over his forehead, he heats the fire in a small furnace by squeezing the bellows under his arm. In this engaging painting, Bega provides a fascinating glimpse into the mysterious realm of an alchemist’s workshop. He shows the alchemist in mid- experiment as he grasps metal tongs that reach into the fire, its blue-grey smoke billowing up behind the domed alembic. Below this glass distillation vessel is an open-topped vessel containing the material to be distilled. The heated vapor rising into the hooded alembic cools on contact with its glass dome. The liquid created drips from the alembic’s spout into a red cloth that filters it before it reaches a receptacle on the earthen floor of the workshop. Thick tomes, their leather covers worn and torn, their pages, filled with drawings and instructions, rumpled from extensive use, lie within arm’s reach. An illustration of this distillation process bearing an undecipherable, alchemical text, perhaps torn from one of these books, is attached to the stone wall directly above the oven.[1] Beautifully rendered earthenware pots, as well as glass, wooden, leather, and metal containers of all shapes and sizes indicate the many ingredients that have gone into the alchemist’s concoctions over the years, mixtures that, given the sparse and haphazard character of his workshop, probably never attained the desired results.
    [Show full text]
  • Still Looking for Pieter Bruegel the Elder
    STILL LOOKING FOR PIETER BRUEGEL THE ELDER By Jamie Lee Edwards A thesis submitted as part of the requirements for the degree of M.Phil(B) in the History of Art School of Languages, Cultures, Art History and Music University of Birmingham 2013 0 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Pieter Bruegel the Elder (c.1526-69) is one of the most renowned sixteenth-century Netherlandish artists. Paradoxically, however, he is also one of the most mysterious and our dearth of known historical information about Bruegel has generated much debate about how his art relates to the religious and political conflicts raging in the Low Countries during the 1560s. Most previous scholarship has attempted to place Bruegel’s allegiances on one side or the other of a Catholic versus Protestant binary, and attempted to demonstrate that Bruegel’s art was conceived and understood as partisan propaganda. By taking a reception-focused approach, this thesis seeks to address this shortcoming in Bruegel scholarship. Chapter 1 is primarily concerned with the intended audience for Bruegel’s art, their beliefs and the ways in which they displayed and interpreted art.
    [Show full text]
  • Old Master Prints Catalogue Summer 2006
    CATALOGUE SUMMER 2006 OLD MASTER PRINTS CATALOGUE SUMMER 2006 This catalogue is dedicated to my mother, Lois Michal Lewis (March 5, 1924 - March 14, 2006) Firm orders have priority. On approval orders will be sent to institutions and to individuals known to us or supplying appropriate references. Please specify firm or on approval when ordering. All shipping charges are extra. Jan Lewis Slavid P. O. Box 6126 San Rafael, CA 94903 Tel: (415) 472-7021 Fax: (415) 472-7043 [email protected] www.relewis.com 1. I. NortHERN Old master Prints Heinrich Aldegrever (1502 - 1555/61) 1. Dancing Couple. 1538. Hollstein 166. Engraving, 117 x 77 mm (4⁵/₈ x 3¹/16”), trimmed along the platemark. A fine impression, in very good condition. Plate 7 from The Large Wedding Dancers. $2,750. 2. Two Torch-Bearers. 1538. H. 161. Engraving, 117 x 78 mm, (4⁵/8 x 3¹/16”), trimmed along the platemark. An extremely fine impression, with fine polishing scratches and plate tone. Plate 2 from The Large Wedding Dancers. $3,000. 2. Hendrik Goltzius (1558 - 1617) 3. Portrait of Jan van Suren, printer and publisher, and burgomaster of Haarlem, after M. van Heemskerck. 1590. Hollstein 220ii (of iii). Engraving, 160 x 110 mm (6⁵/16 x 4⁵/16”), trimmed just outside the platemark at top and sides and just within the platemark at bottom. An extremely fine impression. Pale water stains at upper corners. Provenance: Baron Henri de Triqueti (Lugt 1304); Baron D. Vivant-Denon (L. 779); André-Jean Hachette (L.132), and Collection Henri Beraldi (L. 330). $3,800.
    [Show full text]
  • Sixteenth Century Prints As C&I Sources
    16th Century Prints AS C&I Sources HUGO VAN HARLO [email protected] SIXTEENTH CENTURY PRINTS AS C&I SOURCES 2 Your Lecturer Make believe artist. Sixteenth century print culture nerd. Not really an art historian, either. • RenaissanceNetherlands.com • Facebook.com/RenaissanceNetherlands • HugoVanHarlo.com SIXTEENTH CENTURY PRINTS AS C&I SOURCES 3 Our Goal 1. To better understand the aesthetic and compositional qualities of intaglio prints from the sixteenth century as a source for C&I work in the SCA. 2. To know how and where to find extant examples to reference in our work. Criteria: Given the nature of SCA award scrolls, we will be looking at prints that combine text and images together. • Text-heavy placards? No. • Purely illustrative engravings? No. Caveat: We will be looking at creating facsimiles of intaglio prints and letterpress work via hand-drawn pen and ink methods. • There are similarly pieces in ink, but that’s outside the purview of our class. • (But please do some copperplate engravings if you want; that’s rad.) SIXTEENTH CENTURY PRINTS AS C&I SOURCES 6 Today’s Agenda • 9:05 16th Century Printmaking and Artistic Movements • 9:10 Common Categories and Characteristics of the Era • 9:25 Survey of Prints • 9:50 Q&A 16TH CENTURY PRINTMAKING AND ARTISTIC MOVEMENTS SIXTEENTH CENTURY PRINTS AS C&I SOURCES 8 History of European Printing • Printing began in the 15th century with large woodcuts that included text before Gutenberg developed moveable type. Artists and woodcut artisans were separate. • Copper/silverplate engraving followed from the goldsmiths, and the artist & engraver were the same person.
    [Show full text]
  • 1990 ANNUAL REPORT National Gallery of Art
    1990 ANNUAL REPORT National Gallery of Art 1990 ANNUAL REPORT 1990 ANNUAL REPORT National Gallery of Art Copyright © 1991. Board of Trustees, National Gallery of Art, Washington All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 This publication was produced by the Editors Office, National Gallery of Art Edited by Tarn L. Curry Designed by Susan Lehmann, Washington, D.C. Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by BG Composition, Baltimore, Maryland Photo credits: Dean A. Beasom, pp. iv, x, xiii, 2-4, 7-8, 15, 17, 21, 35, 37, 39. 50, 54, 62, 77. 80, 102 E. Irving Blomstrann, p. xi Dennis Brack, Black Star, pp. xvi, 29, 56, 58, 59, 60, 65-67, 78 Kathleen Buckalew, pp. 23, 24, 33, 42 Richard A. Carafelli, pp. 12, 63 Philip A. Charles, pp. 2, 13, 74. 89 James O. Milmoe. p. 52 Jose A. Naranjo, pp. ii-iii, viii, 10, 69, 92 Edward Owen, pp. 5,18 James Pipkin, cover Rex Stuckey, p. 46 William D. Wilson, pp. 30, 48, 70, 71 ISBN 0-89468-161-3 Pages ii-iii: Peter Paul Rubens, The Fall of Phaeton, c. 1605, Patrons' Permanent Fund, 1990.1.1 This page: Hendrick Goltzius, Arnoud van Beresteyn, c. 1579, Gift of Ruth and Joseph Bromberg in memory of their son. Michael, 1990.24.1 Contents President's Preface vi Administration Director's Report ix Protection Services 55 Art Programs Publication Sales 57 Gallery Architect 57 Acquisitions I Facilities Management 58 Renaissance Painting 9 Procurement and Supply 58 Baroque
    [Show full text]
  • Peter Bruegel and Esoteric Tradition
    PETER BRUEGEL AND ESOTERIC TRADITION Contents i Summary vii Declaration and Statements ix Foreword 1 Introduction 1. Bruegel in the view of art historians 7 Introduction 2. The Numbering at Bethlehem 29 Part I: The Perennial Philosophy Chapter 1. Theory of the Perennial Philosophy and Esotericism Modern Writers on the Perennial Philosophy 72 Esotericism 82 Chapter 2. Lineaments of the Perennial Philosophy in the Hellenistic World Hellenic and Hellenistic Origins 87 Plotinus 90 Plotinian Psychology 92 Plotinian Cosmology 97 Man the Microsom 105 Iamblichus 109 i Chapter 3. Lineaments of the Perennial Philosophy in the Christian World The Primitive Church 111 Origen 113 Symbol of the Seed in John’s Gospel 116 Spiritual Freedom and the Church as Institution 119 Early Appearance of ‘Heresy’ 122 Pagan Traditions in Christianity 122 Esoteric Symbolism in the New Testament 126 The Church Institutionalised 129 Gnostics 130 Chapter 4. Lineaments of the Perennial Philosophy: Gnosticism and Christian Platonism Montanism 132 Gnosticism: The Way of Self Knowledge 138 Spiritual Exercises 141 The Tradition in the West: Dionysius the Areopagite 145 Origins of the Cathars: Paulicians, Montanists and Bogomils 148 ii Chapter 5. Lineaments of the Perennial Philosophy: Mysticism in the Late Middle Ages 13th century Followers of Erigena 153 The Brethren of the Free Spirit 155 Devotio Moderna 157 [08] Meister Eckhart and the Rhineland Mystics 158 The Friends of God 163 Meditation 164 John Tauler, 1300-1360 166 Henry Suso, 1296-1366 157 Theologica and Imitatio Christi 167 The Brotherhood of the Common Life 181 Chapter 6. Lineaments of the Perennial Philosophy: Renaissance Mysticism Italy and Renaissance Mysticism 184 Solario’s portrait of Longoni 185 Renaissance Esotericism 189 Perennial Philosophy and Renaissance Mysticism 193 Hermeticism 196 Recapitulation: The Esoteric Way of Self-Knowledge 200 Application of Sacred Tradition in Practice 201 iii Chapter 7.
    [Show full text]