DOCSLIB.ORG

Hans Wechtlin and the Production of German Colour Woodcuts1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hans Wechtlin and the Production of German Colour Woodcuts1 chapter 9 Hans Wechtlin and the Production of German Colour Woodcuts1 Alice Klein In the eighteenth century, the prolific German scholar and Röttinger’s assumption has been unanimously dis- art historian Christoph Gottlieb von Murr held Hans missed.6 By now, it has been accepted that single-sheet Wechtlin, a painter active in Strasbourg between 1506 and woodcuts were first printed with tone blocks in 1508, nei- 1519, as the inventor of the so-called ‘chiaroscuro’ printmak- ther in Strasbourg nor in Wittenberg, but in Augsburg,7 ing technique.2 Wechtlin was obviously the most prolific and that book illustrations were printed with tone blocks colour printmaker in the first two decades of the sixteenth in Augsburg from the 1480s.8 Furthermore, as early as 1923, century as, of the thirty or so colour woodcuts printed on Karl Theodore Parker, future Keeper of the Ashmolean single sheets in Germany, twelve belong to his corpus.3 In Museum, Oxford, underlined the significance of Paul the first half of the twentieth century, Heinrich Röttinger, Kristeller’s discovery of a copy of the frame of Wechtlin’s the main authority on Wechtlin at the time, upheld von colour woodcut Skull Within an Ornamental Frame, in a Murr’s theory but also suggested that Wechtlin had per- book printed by Jacob Köbell in 1513:9 the model, Wechtlin’s fected the ‘chiaroscuro’ woodcut technique around 1505 woodcut, must have been printed before 1513. In this light and passed it onto Lucas Cranach in 1506 during a visit to and since he could find no obvious difference in style Wittenberg.4 This would have made Wechtlin the pioneer between Wechtlin’s few accurately dated colour woodcuts of ‘fine art’ colour printmaking; Cranach printed the cele- and the ‘normal’ woodcuts he made between 1506 and brated ‘first’, the St George and the Dragon from a key block 1508, Parker dated all the colour woodcuts signed with his in black and a highlight block (not a tone block) in gold on monogram I°V between 1510 and 1512.10 blue prepared paper, in Wittenberg in 1507, to which the Even if Parker’s dating can be accepted, it must be clari- Augsburg artist Hans Burkgmair responded in 1508 by pro- fied. Research has not advanced significantly; this paper is ducing woodcuts of Maximilian I on Horseback and St George on Horseback in nearly the same technique. Later that year, 6 Several art historians demonstrated that, on the contrary, they were issued in their second state with the highlights cut Wechtlin’s image was after Marcantonio or that they were after a out from a tone block.5 common model. See P. Kristeller, ‘Carpi, Ugo da’, in U. Thieme and F. Becker, Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, 37 vols. (Leipzig: Seemann, 1907– 1 Translated from French into English by Marie Canard. 62), 6: 48; A. Oberheide, Der Einfluss Marcantonio Raimondis auf 2 This term is frequently used to refer to all colour woodcuts that are die nordische Kunst des 16. Jahrhunderts (Hamburg: Schimkus, designed to give a three-dimensional effect, but it is not used in 1933), 136. See also G. Bartrum, ed., German Renaissance Prints, this text because it was not the contemporary term. Both its first 1490–1550, exh. cat. (London: British Museum Press, 1995), 66. recorded use in archival sources in 1516 (after the terminus ante 7 On an earlier approach to colour printmaking, see A. Stijnman and quem of the prints discussed in this chapter) and its first printed E. Savage (formerly Upper), ‘Color Prints before Erhard Ratdolt: use in 1550 were in Italian texts that referred to the imitation of Engraved Paper Instruments in Lazarus Beham’s Buch von der Italian chiaroscuro drawing. As no generic term seems to have Astronomie (Cologne: Nicolaus Götz, c.1476)’, Gutenberg Jahrbuch been used in German for centuries, ‘colour woodcut’ is used in this (2014), 86–105. On the ‘invention’ in 1508 or 1510, see E. Savage, book. For details, see E. Savage, ‘Colour Printing in Relief’, this ‘Colour Printing in Relief’, this volume, 27–28; A. Grebe, ‘Dürer in volume, 23–24. Chiaroscuro’, this volume, 171–73. 3 C.G. von Murr, Journal zur Kunstgeschichte und zur allgemeinen 8 D. Landau and P. Parshall, The Renaissance Print, 1470–1550 (New Litteratur, 2. Teil (Nuremberg: Eberhard, 1776), 147. The twelve, of Haven, London: Yale University Press, 1994), 197–98. which all but one of which are signed with his monogram I°V, are 9 K.T. Parker, ‘Quelques dessins de l’école alsacienne du xve et du reproduced in W.L. Strauss, Clair-Obscur: Der Farbholzschnitt in xvie siècle’, Archives alsaciennes d’histoire de l’art, 2me Année Deutschland und den Niederlanden im 16. und 17. Jahrhundert (1923), 74. The copy of the frame is the frontispiece to J. Stöffler, (Nuremberg: Carl, 1973), nos. 19–30. Elucidatio Fabricae Ususque Astrolabii (Oppenheim: Köbel, 4 H. Röttinger, ‘Hans Wechtlin und der Helldunkelschnitt’, Gutenberg- dated 1512 in the colophon and 1513 in the title border), vd16 Jahrbuch (1942–43), 107–13. Röttinger was convinced that Wechtlin’s S 9191. Parker accepted the year 1512, but today most library cata- first chiaroscuro woodcut print was Pyramus and Thisbe, and that it logues use 1513. had been printed before 1505, when Marcantonio Raimondi made a 10 More specifically, but without justifying it, Parker put forward print that (Röttinger claimed) was after it. the date of 1510 for the colour woodcuts Christ on the Cross and 5 See A. Grebe, ‘Dürer in Chiaroscuro’, this volume, 171–73. St Jerome. © koninklijke brill nv, leiden, 2015 | doi 10.1163/9789004290112_011 104 Klein the first published study that is based on a complete survey A new terminus ante quem can be given to one of of Wechtlin’s known colour woodcuts (Table 9.1 and Table Wechtlin’s colour woodcuts, and to possibly two others. 9.2).11 It reveals that some survive in several palettes and A copy of Virgin and Child in a Frame appears in a book states (combinations of blocks) that were printed at differ- printed in Lyon by Johann Clein in July 1511.13 Wechtlin’s ent times, and a close look at these copies provides new woodcut must have been on the market no later than the information not only about their production, but also beginning of 1511 and thus made beforehand. This termi- about how this new printmaking technique was passed nus ante quem could also be relevant for the first state (i.e., from Augsburg to Strasbourg and thus the chronology of from two blocks) of St Sebastian and The Crucifixion the invention and dissemination of early colour printmak- because many similarities between the three indicate that ing. The thorough study of all stylistic and distinctive tech- they were conceived of and elaborated as a series:14 they nical features in Wechtlin’s woodcuts forces the reconsid- are all illustrations of religious subject-matters, framed eration of a hypothesis that has regularly resurfaced in with the same ornamental strips in the same dimensions. (brief) texts since the 1980s, i.e. that Wechtlin learnt the Two others must have also belonged to that series: St technique from its first producers in Augsburg in 1508.12 Jerome in the Desert and St Christopher survive only in three- block impressions, like the second state of Virgin and Child in a Frame (Fig. 9.1), St Sebastian and The Crucifixion. In this Dating Wechtlin’s Colour Prints state of all five prints, the central scenes are no longer framed with ornamental strips, the prints are the same dimensions, The limited literature on Wechtlin’s colour woodcuts and the third block, which is printed in the darkest ink, largely consists of speculation about its dates of produc- serves the same secondary purpose of adding insignificant tion. New research allows us to date them with more visual information (such as the leafless branches right of the certainty, however, and explains aspects of their original holy martyr in St Sebastian) and primary purpose of bring- (and subsequent) production that have puzzled scholars. ing details into relief. For example, in the trees of the land- scape in the background of St Jerome, the new black lines are only superimposed on the conifer outlines already provided 11 It is derived from unpublished research in A. Klein, ‘Hans in dark grey by the first block. Hence, one can assume that Wechtlin, peintre à Strasbourg à la veille de la Réforme’ (Hans the third block was added to make up for the worn first Wechtlin, Painter in Strasbourg at the Dawn of the Reformation) block. Thus, there were probably a first state of St Jerome in (PhD diss., University of Paris iv-Sorbonne, 2014), which is the the Desert and St Christopher, framed in the same ornamen- first modern assessment of all of Wechtlin’s artistic production. tal strips as Virgin and Child in a Frame, St Sebastian and The 12 O. Pannewitz, Die Renaissance im deutschen Südwesten: zwischen Reformation und Dreissigjährigem Krieg, exh. cat. (Karlsruhe: Crucifixion and also printed from two blocks around 1510 Badisches Landesmuseum, 1986), notice F27, p. 393, and C. Kemmer, (Table 9.1), and the second states of these five colour wood- Von Cranach bis Baselitz: Meisterwerke des Clairobscur-Holzschnitts, cuts were thus certainly printed (long) after 1510. exh. cat. (Braunschweig: Herzog Anton Ulrich-Museum, 2003), 21. As to the seven other colour woodcuts signed with the Both Pannewitz and Kemmer suggest that Wechtlin had learnt the monogram I°V, Parker rightly emphasised their stylistic chiaroscuro woodcut technique from blockcutter Jost de Negker.
Load more

Recommended publications
  • Colour in Early Modern Printmaking (Cambridge 8-9 Dec 11)
    Impressions of Colour: Colour in Early Modern Printmaking (Cambridge 8-9 Dec 11) University of Cambridge, Dec 8–09, 2011 Registration deadline: Dec 5, 2011 Elizabeth Upper Online registration for the conference Impressions of Colour: Rediscovering Colour in Early Mod- ern Printmaking, ca 1400-1700 (University of Cambridge, 8-9 December 2011) has opened at www.crassh.cam.ac.uk/events/1659. Despite the significance and scale of recent discoveries about early colour printing, ca. 1400-ca. 1700, the bias against colour continues to dominate print scholarship; the colour in these colour prints is often ignored. Now that techniques that were thought to have been isolated technical experiments seem to have been relatively common practice, a new, unified history of, and concep- tual framework for, early modern colour printing has become necessary, and significant aspects of early modern print culture now must be reconsidered. This conference aims to explore new methodologies and foster new ways of understanding the development of colour printing in Europe through an interdisciplinary consideration of the production. There are three special events. Places for the demonstration of colour printing in the Historical Printing Room, University Library, and for the guided display of early colour prints at the Fitzwilli- am Museum are limited and will be allocated first come, first served. The display of early colour- printed book illustrations at the University Library will be open to all delegates. Student bursaries are available through a generous subvention from the Bibliographical Society and will be allocated in the order of registration. Details are on the conference website. The conference is convened by Ad Stijnman (University of Amsterdam) and Elizabeth Upper (Uni- versity of Cambridge), with assistance from Emily Gray (Courtauld Institute/British Museum).
    [Show full text]
  • Miszellaneen Miscellanea
    miszellaneen MISCELLANEA c.g. boerner in collaboration with harris schrank fine prints Israhel van Meckenem ca. 1440–45 – d. Bocholt 1503 1. Die Auferstehung – The Resurrection (after the Master E.S.) ca. 1470 engraving with extensive hand-coloring in red, blue, green, reddish-brown and gold leaf; 94 x 74 mm (3 11�16 x 2 ⅞ inches) Lehrs and Hollstein 140 provenance C.G. Boerner, Leipzig, sale 153, May 3–4, 1927, lot 43 sub-no. 49 (ill. on plate 3) S.F.C. Wieder, Noordwijk, The Netherlands William H. Schab Gallery, New York, cat. 40 [1963], no. 64 (the still-intact manuscript), the Meckenem ill. on p. 69 private collection, Switzerland Sotheby’s, London, December 4, 1969, lot 18 William H. Schab Gallery, New York, cat. 52, 1972, no. 46 (ill. in color) C.G. Boerner, Düsseldorf, acquired April 25, 1972 private collection, Germany Sotheby’s, London, December 3–4, 1987, lot 579 (GBP 27,500) private collection Unikum. Very little is known about the early life of Israhel van Meckenem. His family probably came from Meckenheim near Bonn. He might have received his first artistic training with the so- called Master of the Berlin Passion who was active in the Rhine-Meuse region in 1450–70 (and whom Max Geisberg even tried to identify as Van Meckenem’s father). This is supported by 13 copies that Van Meckenem made after prints by this early “Anonymous.” However, the Master E.S. played an even more important role in the formation of the young artist. He worked in the Upper Rhine valley, most likely in Strasbourg, and his importance for the development of the relatively new medium of engraving can hardly be overestimated.
    [Show full text]
  • Der Orpheusmythos in Der Malerei Des 19. Jahrhunderts Auf Basis Seiner Rezeptions- Und Wirkungsgeschichte
    DER ORPHEUSMYTHOS IN DER MALEREI DES 19. JAHRHUNDERTS AUF BASIS SEINER REZEPTIONS- UND WIRKUNGSGESCHICHTE: RECHERCHEN ZU EINEM UNSIGNIERTEN GEMÄLDE DIPLOMARBEIT zur Erlangung des Magistergrades an der Geisteswissenschaftlichen Fakultät der Universität Salzburg eingereicht von WOLFGANG WIESAUER Salzburg, am 01. 12. 2001 2 INHALTSVERZEICHNIS DER ORPHEUSMYTHOS IN DER MALEREI DES 19. JAHRHUNDERTS AUF BASIS SEINER REZEPTIONS- UND WIRKUNGSGESCHICHTE: RECHERCHEN ZU EINEM UNSIGNIERTEN GEMÄLDE I. PROBLEMATISIERUNG UND THESEN; METHODISCHE KONZEPTION .....7 A. ALTHISTORISCH -ARCHÄOLOGISCHE ANALYSE DER ALTORPHISCHEN ASPEKTE ........................................ 9 1. Die Zeitlosigkeit des Orpheusmythos................................................................................................... 9 2. Strukturen............................................................................................................................................. 9 B. ÜBERBLICK .............................................................................................................................................. 10 1. Orpheus“rollen“................................................................................................................................ 11 2. Die Idee von der Verwandtschaft der Künste..................................................................................... 12 C. ALS DARSTELLENDER SCHLUßBEWEIS : IKONOLOGISCHE UND IKONOGRAPHISCHE ANALYSE UND INTERPRETATION EINES UNSIGNIERTEN ORPHEUSGEMÄLDES / ZUWEISUNG AN HANS ALOIS
    [Show full text]
  • Ivan Albright • Interview: Chiaroscuro at the Louvre • Titian's Dirty
    US $30 The Global Journal of Prints and Ideas May – June 2019 Volume 9, Number 1 Ivan Albright • Interview: Chiaroscuro at the Louvre • Titian’s Dirty Dog • Francis Seymour Haden • Spanish Modern Jacob Lawrence • Christiane Baumgartner • Chinn Wang • Mary Schina • Eric Avery & Adam DelMarcelle • News FeaturingFeaturing exquisite exquisite color color photographs, photographs, The The Life Life Rembrandt’sRembrandt’s Religious Religious Prints Prints brings brings together together andand Art Art of ofFelrath Felrath Hines Hines explores explores the the life, life, work, work, and and stunningstunning and and virtually virtually unknown unknown religious religious etchings etchings artisticartistic signi signi cance cance of of Felrath Felrath Hines, Hines, one one of of the the most most fromfrom the the Dutch Dutch master master that that reveal reveal fresh fresh insights insights and and noteworthynoteworthy art art conservators conservators of of the the 20th 20th century. century. discoveriesdiscoveries with with each each new new encounter. encounter. ProvidingProviding the the rst rst book-length book-length biography biography ofof Lucius Lucius Beebe Beebe and and Charles Charles Clegg, Clegg, Reevy’sReevy’s new new book book is isan an indispensable indispensable Ubuntutu:Ubuntutu: Life Life Legacies Legacies of ofLove Love and and QuiltsQuilts and and Health Health speaks speaks to to the the healing healing historyhistory of of the the work work of of two two photographers photographers ActionAction features features quilts quilts that that pay pay tribute tribute powerpower of of quilts quilts and and quiltmaking quiltmaking and and whowho forever forever changed changed the the way way we we see see and and toto the the indelible indelible contributions contributions that that toto the the deep deep connections connections between between art art experienceexperience American American railroads.
    [Show full text]
  • 2011 ANNUAL REPORT ART & EDUCATION Diana Bracco BOARD of TRUSTEES COMMITTEE W
    NATIONAL GALLERY OF ART 2011 ANNUAL REPORT ART & EDUCATION Diana Bracco BOARD OF TRUSTEES COMMITTEE W. Russell G. Byers Jr. (as of 30 September 2011) Victoria P. Sant Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Robert W. Duemling Frederick W. Beinecke Barney A. Ebsworth Mitchell P. Rales Gregory W. Fazakerley Sharon P. Rockefeller Doris Fisher John Wilmerding Aaron I. Fleischman Juliet C. Folger FINANCE COMMITTEE Marina K. French Mitchell P. Rales Lenore Greenberg Chairman Rose Ellen Greene Timothy F. Geithner Richard C. Hedreen Secretary of the Treasury Helen Henderson Frederick W. Beinecke John Wilmerding Victoria P. Sant Benjamin R. Jacobs Chairman President Sharon P. Rockefeller Sheila C. Johnson Victoria P. Sant Betsy K. Karel John Wilmerding Linda H. Kaufman Mark J. Kington AUDIT COMMITTEE Robert L. Kirk Frederick W. Beinecke Jo Carole Lauder Chairman Leonard A. Lauder Timothy F. Geithner Secretary of the Treasury LaSalle D. Leffall Jr. Mitchell P. Rales Robert B. Menschel Harvey S. Shipley Miller Sharon P. Rockefeller Frederick W. Beinecke Mitchell P. Rales Victoria P. Sant Diane A. Nixon John Wilmerding John G. Pappajohn Sally E. Pingree TRUSTEES EMERITI Diana C. Prince Roger W. Sant Robert F. Erburu B. Francis Saul II John C. Fontaine Thomas A. Saunders III Julian Ganz, Jr. Fern M. Schad Alexander M. Laughlin Albert H. Small David O. Maxwell Michelle Smith Ruth Carter Stevenson Benjamin F. Stapleton Sharon P. Rockefeller John G. Roberts Jr. Luther M. Stovall Chief Justice of the EXECUTIVE OFFICERS Ladislaus von Hoffmann United States Victoria P. Sant President Alice L. Walton William L.
    [Show full text]
  • Chapter 3 the Birth of an Anatomical Icon
    Chapter 3 The Birth of an Anatomical Icon Anatomical fugitive sheets clearly constitute a printed, iconographical and textual genre of their own. Their main characteristic, common to them all throughout the centuries, is to show the human anatomy by means of a printed figure made out of flaps of paper one can lift up, and surrounded with a brief explanatory text. This idea is at the basis of the tradition which persists from Vogtherr to Remmelin's Catoptron until the anatomical tables of Alexander Ramsay and Edward William Tuson, published in the nineteenth century.' Even today one can find books-particularly for children-which use the same, simple, immediate, intuitive method of unveiling figures in order to explain the make-up of the human body and the connections between its parts.2 Renaissance fugitive sheets constitute in fact one solution to the problem posed by the need to represent visually data which are intrinsically topographical: the body is a map, a collection of forms, parts and spatial relations hidden away under the skin, which can be explained in terms of these connections and relations. It was Vogtherr, as far as available documents show, who established the technique for these fugitive sheets with superimposed flaps; and his invention was a success because the method allowed for the restitution of a virtual three- dimensionality to an object-the human body-which would otherwise, when reproduced in print, be restricted to the two-dimensionality of pictorial representation. But what are the antecedents of Vogtherr's invention? What are its iconographical and textual sources? What were the channels for its diffusion? The reconstruction of this story, partial as it is, helps to throw some light on aspects of the cultural context in which the fugitive sheets were produced, and provides some clues about their social destination.
    [Show full text]
  • A Selection of Prints, Mostly by the Old Masters, to Celebrate Our 190Th Anniversary
    a selection of prints, mostly by the old masters, to celebrate our 190th anniversary EINE GRAPHIKAUSWAHL MEIST ÄLTERER MEISTER, AUS ANLASS UNSERES 190-JÄHRIGEN BESTEHENS c.g. boerner in collaboration with harris schrank fine prints Preface Vorwort This year C.G. Boerner proudly celebrates its In diesem Jahr begeht die Kunsthandlung C.G. 190th anniversary. Our firm can thus be counted Boerner das Jubiläum ihres 190-jährigen Bestehens among the oldest art dealerships in continuous und gehört somit weltweit zu den ältesten existence. And, indeed, only very few of the Kunsthandlungen. Selbst die meisten Museen, die distinguished museums we work with these days wir die Ehre haben, zu unseren Kunden zählen are quite as old as we are. On this special occasion zu dürfen, sind jünger. Es sei daher erlaubt, we thought we might take the liberty of prefacing unsere Neue Lagerliste 135 mit einem kurzen our Neue Lagerliste 135 with a brief survey of the geschichtlichen Rückblick zu eröffnen. firm’s history. Am 8. November 1826 gründete der Maler The painter Carl Gustav Boerner (1790–1855) Carl Gustav Boerner (1790-1855) in Leipzig founded the company in Leipzig on November eine Kunsthandlung und spezialisierte sich auf 8, 1826. From the beginning, he focused nearly Papierarbeiten alter Meister, Druckgraphik ebenso exclusively on works on paper, both prints and wie Zeichnungen. Außerdem nahm er aktuelle drawings by the old masters. He also handled Werke seiner Künstlerfreunde in sein Programm contemporary art, offering the work of some auf und war sogar als Verleger tätig, indem er etwa graphische Suiten Adrian Ludwig Richters of his artist friends.
    [Show full text]
  • Viewer to Understand Witches and Eve As Natural Women
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 The Nature of the Natural Woman Ann Marie Adrian Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE & DANCE THE NATURE OF THE NATURAL WOMAN By ANN MARIE ADRIAN A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2012 Ann Marie Adrian defended this thesis on Monday, March 26th, 2012. The members of the supervisory committee were: Stephanie Leitch Professor Directing Thesis Jack Freiberg Committee Member Lauren Weingarden Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS Firstly, I would like to extend my utmost gratitude to my thesis advisor Dr. Stephanie Leitch. Her vast knowledge of art history and brilliant insight provided me with a strong foundation on which to begin this project. Her guidance, encouragement, and enthusiasm were invaluable in helping me through the research, writing and revising, and made this project most enjoyable. I would also like to thank my committee members Dr. Jack Freiberg and Dr. Lauren Weingarden, for helping me get off on the right foot and their advice in the final stages. Additionally, I extend my gratitude to the staff members of the Blanton Museum of Art in Austin, Texas, the Metropolitan Museum of Art, the Pierpont Morgan Library and Museum, and the New York Public Library for their patience and cooperation with retrieving numerous prints, drawings and books for my research and graciously answering all of my questions.
    [Show full text]
  • Cgboerner NL135 Email Eiwit
    a selection of prints, mostly by the old masters, to celebrate our 190th anniversary EINE GRAPHIKAUSWAHL MEIST ÄLTERER MEISTER, AUS ANLASS UNSERES 190-JÄHRIGEN BESTEHENS c.g. boerner in collaboration with harris schrank fine prints Preface Vorwort This year C.G. Boerner proudly celebrates its In diesem Jahr begeht die Kunsthandlung C.G. 190th anniversary. Our firm can thus be counted Boerner das Jubiläum ihres 190-jährigen Bestehens among the oldest art dealerships in continuous und gehört somit weltweit zu den ältesten existence. And, indeed, only very few of the Kunsthandlungen. Selbst die meisten Museen, die distinguished museums we work with these days wir die Ehre haben, zu unseren Kunden zählen are quite as old as we are. On this special occasion zu dürfen, sind jünger. Es sei daher erlaubt, we thought we might take the liberty of prefacing unsere Neue Lagerliste 135 mit einem kurzen our Neue Lagerliste 135 with a brief survey of the geschichtlichen Rückblick zu eröffnen. firm’s history. Am 8. November 1826 gründete der Maler The painter Carl Gustav Boerner (1790–1855) Carl Gustav Boerner (1790-1855) in Leipzig founded the company in Leipzig on November eine Kunsthandlung und spezialisierte sich auf 8, 1826. From the beginning, he focused nearly Papierarbeiten alter Meister, Druckgraphik ebenso exclusively on works on paper, both prints and wie Zeichnungen. Außerdem nahm er aktuelle drawings by the old masters. He also handled Werke seiner Künstlerfreunde in sein Programm contemporary art, offering the work of some auf und war sogar als Verleger tätig, indem er etwa graphische Suiten Adrian Ludwig Richters of his artist friends.
    [Show full text]
  • The H. Winnett Orr Historical Collection
    H. WINNETT ORR, M.D., F.A.C.S., 1877-1956 A CATALOGUE OF THE H. WINNETT ORR HISTORICAL COLLECTION AND OTHER RARE BOOKS IN THE LIBRARY OF THE AMERICAN COLLEGE OF SURGEONS American College of Surgeons : Chicago i960 COPYRIGHT, 1960, BY AMERICAN COLLEGE OF SURGEONS LIBRARY OF CONGRESS CATALOG CARD NUMBER 60-11348 PRINTED IN THE UNITED STATES OF AMERICA TO MICHAEL LIVINGOOD MASON SECRETARY OF THE AMERICAN COLLEGE OF SURGEONS 1950-1959 FIRST VICE PRESIDENT 1959-1060 CHAIRMAN, COMMITTEE ON THE LIBRARY 1952 TO DATE THIS VOLUME IS AFFECTIONATELY DEDICATED BY THE EDITORS FOREWORD the committee on the library ofthe American College ofSurgeons, appointed by the Board ofRegents, has longfelt the responsibility ofpublishing a catalogue ofthe outstanding collection of books contributed to the Library by Dr. H. Winnett Orr. Doctor Orrfrequently expressed his hope that such a compilation would be published by the College. It is therefore with a deep sense ofgratitude that the Committee congratulates Miss L. Margueriete Prime, the editor, on its completion. Miss Prime and her staff, including Miss Kath leen Worst, in this task, as in all others, have distinguished themselves in the quality oftheir work. The Committee desires to pay tribute to Miss Primefor her years of inspirational service to the American College of Surgeons. Michael L. Mason, Chairman John R. Orndorff, Acting Co-Chairman E. Lee Strohl, Acting Co-Chairman vn H. WINNETT ORR M.D.,F.A.C.S. The Man Dr. H. Winnett Orr, a much loved and distinguished surgeon, died on October 11, 1956. His contributions to surgery are well known.
    [Show full text]
  • Renaissance Impressions Dimensional Result
    ' ( !"#$% &" ) ) * + , -. An Introduction to the Exhibition Introduction for Teachers and Students The woodcuts in this exhibition were produced during the sixteenth century, coinciding with the end of a remarkable period in the history of European art, known as the Renaissance. Beginning in the fourteenth century, new styles of painting, sculpture and architecture began to emerge. Inspired by the art of ancient Greece and Rome, as well as new scientific developments, artists worked to produce highly realistic images of the human body and of the natural world. The period culminated in Italy with the High Renaissance, a flowering of art that was embodied in the work of Leonardo da Vinci, Michelangelo and Raphael. Written by Dr. Katie Faulkner To achieve a more naturalistic feel in painting, artists were experimenting with For the Learning Department new ways to use the effects of light and dark. (The Italian term chiaroscuro can be © Royal Academy of Arts translated into English as ‘light-dark’ and describes the distribution of light and dark in a work of art, particularly where there is a strong contrast between them.) Painters mixed and blended lighter and darker coloured oil paint, often applied in transparent layers, which allowed them to create a more naturalistic sense of depth of space, and a realistic modelling of faces, drapery and natural forms to give a three- Renaissance Impressions dimensional result. During the Renaissance, Leonardo da Vinci was seen as the Chiaroscuro woodcuts from the Collections of Georg pioneer of this technique. Chiaroscuro woodcuts developed because printmakers Baselitz and the Albertina, Vienna wanted to use woodblocks and ink to imitate the painterly effects of light and shadow in paintings.
    [Show full text]
  • Annual Report 1984
    am* MM 'C/.'C 'i ^ ' - NATIONAL GALLERY OF ART 1984 Annual Report All rights reserved. No pari of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 Copyright © 1985. Board of Trustees, National Gallery of Art This publication was produced by the Editors Office, National Gallery of Art, Washington. Editor: Paula M. Smiley Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bottom Book, set by VIP Systems Inc., Alexandria, Virginia Designed by Susan Lehmann, Washington Inside front cover and page 1: View of Oculus, West Building Frontispiece: Thomas Eakins, The Poleman in the Mash, Julius S. Held Collection. Avalon Fund. 1984.3.9 Cover photograph and view of oculus by James Pipkin. All other photographs by National Gallery of Art Photographic Laboratory ISBN 0-89468-076-5 CONTENTS 7 PREFACE 12 ORGANIZATION 15 DIRECTOR'S REVIEW OF THE YEAR 29 DONORS AND ACQUISITIONS 57 LENDERS 62 LOANS TO EXHIBITIONS 69 EDUCATIONAL SERVICES 69 Department of Tours and Lectures 74 Department of Extension Programs 76 CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS 85 OTHER DEPARTMENTAL REPORTS 85 Curatorial Departments 92 Division of Records and Loans 94 Changes of Attribution 98 Library 102 Photographic Archives 102 Conservation Division 106 Editors Office 106 Exhibitions and Loans 107 Department of Installation and Design 109 Gallery Archives 110 Photographic Services 111 STAFF ACTIVITIES AND PUBLICATIONS 121 MUSIC AT THE GALLERY 123 PUBLICATIONS SERVICE 124 BUILDING MAINTENANCE, SECURITY, AND ATTENDANCE 126 FINANCIAL STATEMENTS 136 ROSTER OF EMPLOYEES AND DOCENTS Mark Rothko. Orange and Tan, National Gallery of Art, Gift of Enid A.
    [Show full text]