DOCSLIB.ORG

Giulio Campagnola's Copies After Other Artists and His Use Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Giulio Campagnola's Copies After Other Artists and His Use Of chapter 6 Tratta da Zorzi: Giulio Campagnola’s Copies after other Artists and his Use of Models Irene Brooke Giulio Campagnola occupies a notable place in the history of printmaking on account of his experimentation with and development of stippling as a means of shading in his engravings. He was also a prominent figure in Venetian culture of his time, with links to well-known humanists, literary fig- ures, and individuals involved in the printing industry, like Pietro Bembo and Aldo Manuzio. Modern literature on Giulio’s œuvre often presents a widely varied conception of his output, his range of ability, and his art historical im- portance.1 The matter has been further complicated by dramatic shifts made by preeminent scholars like Konrad Oberhuber and David Landau in their 1 I would like to thank Jennifer Fletcher, Charles Hope, and Catherine Whistler for reading this essay prior to its publication and for their many helpful and insightful comments. I am also grateful to Maddalena Bellavitis for inviting me to contribute to this volume and Sarah Ferrari for many stimulating discussions about Giulio, Giorgione, and the artistic culture of early cinquecento Venice. The principle studies on Giulio’s career follow: Paul Kristeller, Giulio Campagnola, Kupferstiche und Zeichnungen. Bruno Cassirer, 1907; Arthur M. Hind, Early Italian Engraving. A Critical Catalogue with Complete Reproduction of all Prints Described. Vol. V, Bernard Quaritch, 1948, pp. 189–205; Konrad Oberhuber, “Giulio Campagnola.” Early Italian Engravings from the National Gallery of Art Washington, edited by Jay A. Levenson et al., National Gallery of Art, 1973, pp. 390–413; Mark J. Zucker, Early Italian Masters: The Illustrated Bartsch. Vol. 25, Abaris Books, 1984, pp. 463–87; Maria A. Chiari Moretto Wiel, “Per una nuova cronologia di Giulio Campagnola incisore.” Arte Veneta, vol. 62, 1988, pp. 41–42; Antonio Carradore, “Giulio Campagnola, un artista umanista.” Venezia Cinquecento, vol. 20, no. 40, 2010, pp. 55–134. Recent studies on the artist include Charles Hope, “Drawings, Attribution and Evidence: Giulio Campagnola, Giorgione and Early Titian.” Rethinking Renaissance Drawings: Essays in Honour of David McTavish, edited by Una Roman d’Elia, McGill-Queen’s University Press, 2014, pp. 61–89; Irene Brooke, “‘Il molto cortese e gentile M. Giulio Campagnola’ and his ‘gargion’: New evidence for the date of Giulio’s death and reflections on Domenico’s early career.” Da Venezia a Roma. Pietro Bembo tra arti e lettere, edited by Vittoria Romani, Padua University Press, forthcoming; and Catherine Whistler, “Aspects of disegno, drawing and prints in Renaissance Venice,” in Jenseits des Disgeno? Die Entstehung selbständiger Zeichnungen in Deutschland und Italien im 15. und 16. Jahrhundert, edited by Alessandro Nova and Daniela Bohde, Michael Imhof Verlag, forthcoming. © koninklijke brill nv, leiden, 2018 | doi:10.1163/9789004379596_008 Tratta da Zorzi 213 approach to the artist in different studies.2 Despite recent scholarship revalu- ating the status of copies in the Renaissance, the divergence of opinion among art historians in their view of Giulio often still hinges on a perception of his originality, or conversely, derivativeness as an artist.3 Giulio is recorded as hav- ing made copies after works by leading painters of his day, and much of the early praise of Giulio celebrates his ability as a copyist, although the precise relationship of his extant engravings with the work of other artists has proved to be a complex issue. Taking into account the evidence presented in the prints themselves, as well as our knowledge of contemporary printmaking practices, this essay will explore Giulio’s use of contemporary models. Eschewing mod- ernist conceptions of copy versus original, which have tended to obscure our understanding of the artist, the reception of Giulio’s work by a contemporary audience of collectors and artists will be evaluated and his role in the artistic culture of his time assessed. From the age of thirteen, Giulio’s ability to copy the work of the famed art- ists of his day, Bellini and Mantegna, was extolled in the writings of his father’s humanist friends.4 Giulio is known to have excelled in the art of miniature and later made small illuminations after works by avant-garde Venetian art- ists, Giorgione and Benedetto Diana, which were noted in the 1520s by the art aficionado and connoisseur, Marcantonio Michiel, in the Paduan house of the 2 See: Oberhuber 1973, 390–401, and Konrad Oberhuber, Disegni di Tiziano e della sua cerchia. Neri Pozza, 1976, pp. 52–57, versus Konrad Oberhuber, “Le message de Giorgione et du jeune Titien dessinateurs.” Le Siècle de Titien, l’âge d’or de la peinture à Venise, exhibition catalogue, edited by Michel Laclotte, Réunion des Musées Nationaux, 1994, pp. 483–502, 483–95 and idem, “Giorgione, Titien jeune, leur influence. Dessins et gravures.” Ivi, pp. 503–30, 503–7 (where works previously accepted as Giulio’s are given to Giorgione). Likewise see: David Landau, “Printmaking in Venice and the Veneto.” The Genius of Venice, exhibition catalogue, edited by Jane Martineau and Charles Hope, Royal Academy of Arts, 1981, pp. 303–5, 304, nos. P8–P12, and idem, “Giulio Campagnola.” Ivi, pp. 312–23, 312–16, and 320, no. P17, and David Landau and Peter Parshall, The Renaissance Print. Yale University Press, 1994, pp. 150, 261–64, versus David Landau, “L’arte dell’incisione a Venezia ai tempi di Manuzio.” Aldo Manuzio: Il Rinascimento Veneziano, exhibition catalogue, edited by Guido Beltramini et al., Marsilio, 2016, pp. 107–35, 107 and 123–32. 3 For the status of copies in the Renaissance and Early Modern period see: especially Kathleen Preciado, editor, Retaining the Original: Multiples, Originals, Copies, and Reproductions. Studies in the History of Art, vol. 20, The National Gallery of Art, 1989. For another recent discussion pertaining to the Renaissance see: Alexander Nagel and Christopher S. Wood, Anachronic Renaissance. Zone Books, 2010, pp. 275–99. Hope 2014, 33–45 relates the history of scholarly prejudice against Giulio on account the perception of him as a ‘copyist’. 4 For an outline of contemporary humanist praise of Giulio see: Carradore 2010, 55–70; and Hope 2014, 31–33..
Load more

Recommended publications
  • WASHINGTON, B.C. June 14, 1973. a Major Catalog on the National
    SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 MAJOR ITALIAN ENGRAVINGS CATALOG PUBLISHED BY NATIONAL GALLERY WASHINGTON, B.C. June 14, 1973. A major catalog on the National Gallery of Art's collection of fifteenth and early sixteenth century Italian prints has been published by the National Gallery. This catalog has been produced in conjunction with the Gallery's comprehensive exhibition, Prints of _the Italian Renaissance, on view June 23 through October 7, 1973. The new volume, Early Italian Engravings from the National Gallery of Art, is the third in a series on the Gallery's graphic arts holdings and the first to be devoted to Italian prints. Over 600 pages in length, it includes reproductions of and scholarly entries on all 191 engravings belonging to the Gallery, and 175 supplementary illustrations. The catalog also contains detailed biographies of every engraver represented in the collection, and discusses problems of dating and stylistic development as they apply to the artist's entire oeuvre in essays which reflect the most extensive new research done in this field since the publication in 1948 of the second part of Arthur M. Hind's corpus. Early Italian Engraving. New ideas are advanced about the attributions of early Florentine prints, and entirely new chronologies are proposed for the engravings of such artists as Andrea Mantegna, Jacopo de f Barbari, and Giulio Campagnola. (more) -2. MAJOR ITALIAN ENGRAVINGS CATALOG PUBLISHED BY NATIONAL GALLERY In addition, the general introduction to the catalog traces the entire development of printmaking in Italy in a systematic way, stressing the importance of the influence of the northern engravers, particularly DUrer and Schongauer.
    [Show full text]
  • College of Fine and Applied Arts Annual Meeting 5:00P.M.; Tuesday, April 5, 2011 Temple Buell Architecture Gallery, Architecture Building
    COLLEGE OF FINE AND APPLIED ARTS ANNUAL MEETING 5:00P.M.; TUESDAY, APRIL 5, 2011 TEMPLE BUELL ARCHITECTURE GALLERY, ARCHITECTURE BUILDING AGENDA 1. Welcome: Robert Graves, Dean 2. Approval of April 5, 2010 draft Annual Meeting Minutes (ATTACHMENT A) 3. Administrative Reports and Dean’s Report 4. Action Items – need motion to approve (ATTACHMENT B) Nominations for Standing Committees a. Courses and Curricula b. Elections and Credentials c. Library 5. Unit Reports 6. Academic Professional Award for Excellence and Faculty Awards for Excellence (ATTACHMENT C) 7. College Summary Data (Available on FAA Web site after meeting) a. Sabbatical Requests (ATTACHMENT D) b. Dean’s Special Grant Awards (ATTACHMENT E) c. Creative Research Awards (ATTACHMENT F) d. Student Scholarships/Enrollment (ATTACHMENT G) e. Kate Neal Kinley Memorial Fellowship (ATTACHMENT H) f. Retirements (ATTACHMENT I) g. Notable Achievements (ATTACHMENT J) h. College Committee Reports (ATTACHMENT K) 8. Other Business and Open Discussion 9. Adjournment Please join your colleagues for refreshments and conversation after the meeting in the Temple Buell Architecture Gallery, Architecture Building ATTACHMENT A ANNUAL MEETING MINUTES COLLEGE OF FINE AND APPLIED ARTS 5:00P.M.; MONDAY, APRIL 5, 2010 FESTIVAL FOYER, KRANNERT CENTER FOR THE PERFORMING ARTS 1. Welcome: Robert Graves, Dean Dean Robert Graves described the difficulties that the College faced in AY 2009-2010. Even during the past five years, when the economy was in better shape than it is now, it had become increasingly clear that the College did not have funds or personnel sufficient to accomplish comfortably all the activities it currently undertakes. In view of these challenges, the College leadership began a process of re- examination in an effort to find economies of scale, explore new collaborations, and spur creative thinking and cooperation.
    [Show full text]
  • Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010
    The Brilliant Line: Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010 When the first engravings appeared in southern Germany around 1430, the incision of metal was still the domain of goldsmiths and other metalworkers who used burins and punches to incise armor, liturgical objects, and jewelry with designs. As paper became widely available in Europe, some of these craftsmen recorded their designs by printing them with ink onto paper. Thus the art of engraving was born. An engraver drives a burin, a metal tool with a lozenge-shaped tip, into a prepared copperplate, creating recessed grooves that will capture ink. After the plate is inked and its flat surfaces wiped clean, the copperplate is forced through a press against dampened paper. The ink, pulled from inside the lines, transfers onto the paper, printing the incised image in reverse. Engraving has a wholly linear visual language. Its lines are distinguished by their precision, clarity, and completeness, qualities which, when printed, result in vigorous and distinctly brilliant patterns of marks. Because lines once incised are very difficult to remove, engraving promotes both a systematic approach to the copperplate and the repetition of proven formulas for creating tone, volume, texture, and light. The history of the medium is therefore defined by the rapid development of a shared technical knowledge passed among artists dispersed across Renaissance and Baroque (Early Modern) Europe—from the Rhine region of Germany to Florence, Nuremberg, Venice, Rome, Antwerp, and Paris. While engravers relied on systems of line passed down through generations, their craft was not mechanical.
    [Show full text]
  • The Renaissance Nude October 30, 2018 to January 27, 2019 the J
    The Renaissance Nude October 30, 2018 to January 27, 2019 The J. Paul Getty Museum at the Getty Center 1 6 1. Dosso Dossi (Giovanni di Niccolò de Lutero) 2. Simon Bening Italian (Ferrarese), about 1490 - 1542 Flemish, about 1483 - 1561 NUDE NUDE A Myth of Pan, 1524 Flagellation of Christ, About 1525-30 Oil on canvas from Prayer Book of Cardinal Albrecht of Brandenburg Unframed: 163.8 × 145.4 cm (64 1/2 × 57 1/4 in.) Tempera colors, gold paint, and gold leaf on parchment The J. Paul Getty Museum, Los Angeles Leaf: 16.8 × 11.4 cm (6 5/8 × 4 1/2 in.) 83.PA.15 The J. Paul Getty Museum, Los Angeles Ms. Ludwig IX 19, fol. 154v (83.ML.115.154v) 6 5 3. Simon Bening 4. Parmigianino (Francesco Mazzola) Flemish, about 1483 - 1561 Italian, 1503 - 1540 NUDE Border with Job Mocked by His Wife and Tormented by Reclining Male Figure, About 1526-27 NUDE Two Devils, about 1525 - 1530 Pen and brown ink, brown wash, white from Prayer Book of Cardinal Albrecht of Brandenburg heightening Tempera colors, gold paint, and gold leaf on parchment 21.6 × 24.3 cm (8 1/2 × 9 9/16 in.) Leaf: 16.8 × 11.4 cm (6 5/8 × 4 1/2 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles 84.GA.9 Ms. Ludwig IX 19, fol. 155 (83.ML.115.155) October 10, 2018 Page 1 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J.
    [Show full text]
  • The Renaissance Nude
    Large Print The Renaissance Nude The Sackler Wing of galleries Rooms 1 and 2 Do not remove from gallery The Renaissance Nude Royal Academy of Arts The Sackler Wing of Galleries 3rd March - 2nd June 2019 Contents Page 5 Room 1 - Introduction Page 7 The Nude and Christian Art Page 20 Room 2 Page 22 Humanism and the Expansion of Secular Themes Exhibition supported by The Thompson Family Charitable Trust Peter & Geraldine Williams The Sackler Wing of Galleries You are in room 1 3 2 1 5 4 Audio Desk Exit to room 2 1 2 51 3 =showcases Exhibition entrance 3 Multimedia tour room 1 Main commentary Descriptive commentary 100 Introduction Jan Gossaert, Christ on the Cold 1 51 Stone, c. 1530 Dirk Bouts, The Way to Paradise; 2 The Fall of the Damned, 1468-69 Jean Bourdichon, Bathsheba Bathing, 3 Hours of Louis XII, 1498/99 4 Room 1 The 100 Renaissance Nude :KHQ0LFKHODQJHOR¿QLVKHGKLVµ/DVW Judgement’ in 1541, the monumental wall painting in the Sistine Chapel was celebrated as a triumph. The mural’s vast array of nudes, however, soon proved to be so controversial that, shortly after the artist’s death in 1564, Pope Pius IV ordered concealing draperies WREHSDLQWHGRYHUVRPHRIWKH¿JXUHV 8QWLOWKHQWKHQXGHKDGÀRXULVKHGLQ Renaissance Europe. Even in the face of objections and consternation, it had achieved an increasingly dominant role in the visual arts across the continent, with artistic training itself closely focused on the study of the unclothed body. (continued over) 5 It appeared in sacred and secular contexts, from small, intimate objects to PRQXPHQWDOGHFRUDWLYHSURJUDPPHV¿OOLQJ church interiors and stately palaces.
    [Show full text]
  • The Evolution of Landscape in Venetian Painting, 1475-1525
    THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
    [Show full text]
  • Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century
    IL COLLEZIONISMO POETICO: CARDINAL PIETRO BEMBO AND THE FORMATION OF COLLECTING PRACTICES IN VENICE AND ROME IN THE EARLY SIXTEENTH CENTURY A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY By Susan Nalezyty January, 2011 Examining Committee Members: Tracy E. Cooper, Advisory Chair, Department of Art History Marcia B. Hall, Department of Art History Elizabeth Bolman, Department of Art History Peter Lukehart, External Member, CASVA, National Gallery of Art i © by Susan Nalezyty 2010 All Rights Reserved ii ABSTRACT Il collezionismo poetico: Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century Candidate’s Name: Susan Nalezyty Degree: Doctor of Philosophy Temple University, 2011 Doctoral Advisor: Tracy E. Cooper Cardinal Pietro Bembo’s accomplishments as a poet, linguist, philologist, and historian are well known, but his activities as an art collector have been comparatively little studied. In his writing, he directed his attention to the past via texts—Ciceronean Latin and Petrarchan Italian—for their potential to transform present and future ideas. His assembly of antiquities and contemporary art served an intermediary function parallel to his study of texts. In this dissertation I investigate Bembo as an agent of cultural exchange by offering a reconstruction of his art collection and, in so doing, access his thinking in a way not yet accomplished in previous work on this writer. Chapter One offers a historiographic overview of my topic and collecting as a subject of art historical study. Chapter Two maps the competition and overlapping interests of collectors who bought from Bembo’s heirs.
    [Show full text]
  • The Functional Print Within the Print Market of the Late Fifteenth and Early Sixteenth Century in Northern Europe and Italy
    THE FUNCTIONAL PRINT WITHIN THE PRINT MARKET OF THE LATE FIFTEENTH AND EARLY SIXTEENTH CENTURY IN NORTHERN EUROPE AND ITALY Lyndsay Bennion A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2006 Committee: Dr. Allison Terry, Advisor Dr. Andrew Hershberger © 2006 Lyndsay Bennion All Rights Reserved iii ABSTRACT Dr. Allison Terry, Advisor The focus of my thesis is the print market of the late fifteenth and early sixteenth century. This market was a byproduct of the trade-based economy of Venice and cities in Northern Europe. The multiplicity of prints allowed for their widespread circulation among these cities. Religious prints were the first type of print to be disseminated via the various trade routes. Such prints experienced an immense popularity due to the devotional climate of early Renaissance society. Most often, they were utilized by consumers as devotional tools. Yet as the print market grew, so too did the tastes of consumers. A new type emerged who viewed the print as an art object and used it accordingly; collecting it and storing it away within their private print cabinets. It is these two different functions of the print that I am most interested in exploring. My intent is to view the print as a functional object whose use changed depending on the type of consumer who purchased it. The differing functions of the print resulted in a segmentation of the market into a larger devotional market and a much smaller fine print market.
    [Show full text]
  • Giorgione's Inferno with Aeneas and Anchises for Taddeo Contarini Alessandro Nova
    Originalveroffentlichung in: Luisa Ciammitti, Steven F, Ostrow, and Salvatore Settis (Hgg.), Dosso's Fate, The Getty Research Center Publications, Santa Monica 1998, S. 41-62 Giorgione's Inferno with Aeneas and Anchises for Taddeo Contarini Alessandro Nova ome of the most recent publications on Giorgione have punctiliously S as well as convincingly reexamined his still controversial catalog and 1 chronology. This philological enterprise, however, seems to have been more concerned with organizing in a plausible chronological sequence the surviv­ ing paintings of the artist than with reconstructing and dating Giorgione's lost works and designs. The study of the copies after Giorgione has always been pursued, of course, but an analysis limited to the surviving visual mate­ rial inevitably distorts our view of the historical picture. It must be conceded that we will probably never know what some lost works by Giorgione really looked like; this does not mean, however, that we have to ignore the rights and responsibilities of elaborating reasonable hypotheses about this no longer extant imagery. The purpose of this paper is to reopen the debate surrounding two Gior- gionesque works—works that have been neglected in the most recent philo­ logical overviews —because they help us visualize some of the most pressing issues that absorbed Giorgione's energies during the last three years of his life: the so-called Dream, once known as the Dream of Raphael, engraved by Mar- 2 cantonio Raimondi (fig. I), and the Inferno with Aeneas and Anchises, a can­ vas seen by Marcantonio Michiel in the house of Taddeo Contarini in 1525.' The fate of the Dream is very curious indeed.
    [Show full text]
  • Descriptive Catalogue of an Exhibition of Engravings by the Early
    rv, (lJc Kew yor 1C, .cier ne |s| V. Pv. EDERHEIMER PRINT CABINET ea 366 FIFTH AVENUE. NEW YORK SPECIAL CATALOGUE. NO. 4 VIRGIL SHOWING DANTE THE VISION OK BEATRICE Illustration to Dante Divina Comedia, Florence 1481, Canto II., attributed to Baccio Baldini. See No. 10 of Cat. ANDREA MANTEGNA and the other EAKLY ITALIAN ENGRAVERS Catalogue for an Exhibition of Their Work Held at the adjoining Galleries of Mr. R. Ederheimer and Mr. George S. Heilman 366 FIFTH AVENUE, NEW YORK DECEMBER. 1912 B. 8 ANDREA MANTEGNA Cat 65 THE VIRGIN AND CHILD Descriptive Catalogue of an EXHIBITION OF ENGRAVINGS BY The Early Italian Masters from Maso da Finiguerra to Marc-Antonio Raimondi With special emphasis placed on the work of ANDREA MANTEGNA With an introduction by K. Ederheimer IN TWO PARTS I. UNKNOWN MASTERS A. The Nielli B. Engravings by anonymous masters; Prophets ; Tarocchi, etc. II. ENGRAVINGS BY THE KNOWN MASTERS A. Mantegna and his School B. The other early Italian Engravers To be opened on Wednesday, the Fourth of December 1912 and to last until the end of the Month No. 366 FIFTH AVENUE, NEW YORK COPIES OF THIS CATALOGUE ONE DOLLAR ARRANGED AND PRINTED AT THE BARNES PRINTING CO. 36 EAST 22d STREET,NEW YORK Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/descriptivecatalOOeder B. 3 G1ULIO CAMPAGNOLA. St. JOHN THE BAPTIST Cat. 97 INTRODUCTION T is with satisfaction mingled with re¬ gret that I preface herewith the cata¬ logue of my leading exhibition of this season; satisfaction that good fortune and the co-operation of one of our greatest collectors have enabled me to show this year a collection almost be¬ yond the dreams of ambition; regret, because of the conviction that it will hardly be possible to surpass this enter¬ prise, should not some miracle bring forth some early scrap book, hidden away through ages and containing treasures from the hands of those early northern masters of the time and before Schon- gauer,—the Master E.
    [Show full text]
  • Arcadia • Richard Tuttle: Scherenschnitt • Giulio
    US $25 The Global Journal of Prints and Ideas January – February 2015 Volume 4, Number 5 Arcadia • Richard Tuttle: Scherenschnitt • Giulio Campagnola • Claude Lorraine • Arcadia in Germany Jan van de Velde II • London Transport Posters • KP Brehmer • Hokusai • Marcel Pautot • Prix de Print • News international fine ifpda print dealers association 2015 Calendar San Francisco Fine Print Fair January 24–25 Details at sanfrancisco-fineprintfair.com IFPDA Foundation Deadline for Grant Applications March 30 Guidelines at ifpda.org IFPDA Book Award Submissions due June 30 Guidelines at ifpda.org IFPDA Print Fair October 28 – November 1 Park Avenue Armory, New York City More at PrintFair.com Ink Miami Art Fair December 2–6 inkartfair.com IFPDA Foundation Curatorial Internships Applications for 2016 funding due September 15 Guidelines at ifpda.org For IFPDA News & Events Follow us on Twitter @ifpda Visit What’s On at ifpda.org Subscribe to our monthly events e-blast at ifpda.org Follow us on Facebook or Instagram See the World’s Leading Experts www.ifpda.org 250 W. 26th St., Suite 405, New York, NY 10001-6737 | Tel: 212.674.6095 | [email protected] Art in Print 2015.indd 3 12/9/14 6:13 PM international fine ifpda print dealers association 2015 Calendar January – February 2015 In This Issue Volume 4, Number 5 San Francisco Fine Print Fair Editor-in-Chief Susan Tallman 2 Susan Tallman On Arcadia January 24–25 Associate Publisher Art in Art in Print Number 1 3 Details at sanfrancisco-fineprintfair.com Julie Bernatz Richard Tuttle / Defining the Book:
    [Show full text]
  • The Wonders of Engraving
    ) THE WONDERS OF ENGEAVING. BY GEORGES DUPLESSIS. ILLUSTRATED WITFI TIIIKTY-FOUB WOOD-ENGBAVING8. NEW YOKE: CHARLES SCRIBN^ER & CO, 1871. illustrated library of Wonders. PUBLISHED BT , (parks 654 BROADWAY, NEW YOEK. Bach one volume 12mo. Price per volume, 11.50. Titles of Books. No. of Illustrations THUNDER AND LIOHTNINO, .... 39 WONDERS OP OPTICS, . 70 WONDERS OF HEAT, ..... 90 INTELLIGENCE OP ANIMALS, . 54 GBEAT HUNTS, ...... 22 EGTPT 3,300 YKARS AGO, . 40 WONDERS OP POMPEII, .... 28 THE SUN, BT A. GUILLEMIN, . 63 SUBLIME IN NATURE, ..... SO WONDERS OP GLASS-MAKING, . 63 WONDERS OP ITALIAN ART, .... 28 WONDERS OP THE HUMAN BODY, 46 WONDERS OP ARCHITECTURE, LIGHTHOUSES AND LIGHTSHIPS, 60 BOTTOM OP THE OCEAN, 68 WONDERS OP BODILY STRENGTH AND HKILL, 70 WONDERFUL BALLOON ASCENTS, 30 ACOUSTICS. ..... 114 WONDERS OP THE HEAVENS, . 48 THE MOON, BY A. GUILLKMIN, 60 WONDERS OP SCULPTURE .... 61 WONDERS OP ENGRAVING, 32 WONDERS OP VEGETATION, .... 45 WONDERS OP THE INVISIBLE WORLD, 97 CELEBRATED ESCAPES, .... 26 WATER, ...... 77 HYDRAULICS, .... 40 ELECTRICITY, ..... 71 SUBTERRANEAN WORLD, .... 27 * In Press for early Publication. The above works sent to any address, post-paid, upon receipt of the price 6j> the publishers. CONTENTS. CHAPTER L PAGB THE ORIGIN OF ENGRAVING 9 CHAPTER H. ENGRAVING IN ITALY. Engravers on Wood Nielli Copperplate Engraving at Florence, in the Northern Cities, at Milan, Parma, Bologna, and Rome 13 CHAPTER HI. ENGRAVING IN SPAIN. Giuseppe Ribera and Francesco Goya 83 CHAPTER IV. ENGRAVING IN THE Low COUNTRIES. Engravers on Wood in the loth Century Early Engravers on Metal Holland : Rem- brandt, Ruysdael, and Paul Potter Belgium : Rubens, Bols- wert, Paul Pontius, and Anthony Vandyck 88 CHAPTER V.
    [Show full text]