DOCSLIB.ORG

Grabados Maestros LA HUELLA DE Durero Y Lucas Van Leyden EN La Colección Mariano Moret

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Grabados Maestros LA HUELLA DE Durero Y Lucas Van Leyden EN La Colección Mariano Moret GRABADOS MAESTROS LA HUELLA DE DURERO Y LUCAS VAN LEYDEN EN LA COLECCIÓN MARIANO MORET GRABADOS MAESTROS LA HUELLA DE DURERO Y LUCAS VAN LEYDEN EN LA COLECCIÓN MARIANO MORET GraBaDOs maEstrOs. La HUELLa DE DUrErO Y LUcas van LEYDEn En La cOLEcción marianO mOrEt 29 noviembre 2012 - 17 de febrer 2013 centro cultural La nau de la Universitat de valència. sala Estudi General. calle Universitat, 2. valencia 46003. 963 864 377 www.uv.es/cultura facebook.com/lanauuv twitter.com/lanauuv Rector de la Universitat de València: Esteban morcillo sánchez Vicerrector de Cultura e Igualdad: antonio ariño villarroya Vicepresidenta Ejecutiva FGUV: silvia Barona vilar Proyecto: Universitat de valència Organización: vicerrectorado de cultura e igualdad Producción: Fundación General de la Universitat de valència Colabora: ayuntamiento de valencia exposición Comisarios: nuria Blaya Estrada, Felipe Jerez moliner Coordinación general: norberto Piqueras sánchez Gestión técnica y préstamos: manuel martínez tórtola, soledad sánchez Puértolas Asistencia coordinación: raquel moret alfonso Comunicación: magdalena ruiz Brox Diseño de exposición: Pepe Beltrán Joli Restauración: mar Bensach Gala, mónica Descals Hernández Seguros: mapfre Montaje: taller creativo Difusión: antonio Esteve Blay Visitas guiadas: voluntaris culturals de la Universitat de valència, Pilar Pérez Pacheco Taller didáctico: Fernando J. López Uhden, Ester algarra santacreu Mantenimiento: Francisco Burguera, Álvaro David, Pedro Herraiz Asistencia en sala: med aGc servivios, sL catálogo Edita: Universitat de valència, vicerrectorado de cultura e igualdad Coordinación edición: norberto Piqueras sánchez, nuria Blaya Estrada, Felipe Jerez moliner Diseño y maquetación: ibán ramón + Dídac Ballester Textos: nuria Blaya Estrada, Felipe Jerez moliner, mariano moret tevar Traducción y corrección: Emili sáez Imágenes: colección mariano moret tevar, Biblioteca Histórica. Universitat de valència (p. 36-37) Fotografía: Eduardo alapont Fernández, arantxa Guerola inza (p. 36-37) Realización e impresión: LaimPrENTA cG © de esta edición: Universitat de valència © de los textos y de las traducciones: los autores © de las fotografías: colección mariano moret y Universitat de valència isBn: 978-84-370-9045-0 Depósito legal: v-3405-2012 Índice 9 Prólogo. 13 El contexto histórico cultural del grabado centroeuropeo del siglo XVI y su proyección en la colección Mariano Moret. Felipe Jerez Moliner y Nuria Blaya Estrada. 23 Vivir, amar, coleccionar. Mariano Moret Tevar. 33 Catálogo de obras. Felipe Jerez Moliner, Nuria Blaya Estrada y Mariano Moret Tevar. 147 El grabado y sus técnicas al servicio de la sociedad. Orígenes y desarrollo en Occidente. Felipe Jerez Moliner. 163 Durero y su impronta en el grabado alemán del siglo XVI. Felipe Jerez Moliner. 199 Lucas van Leyden y el grabado de los Países Bajos hasta 1620. Felipe Jerez Moliner. 233 Las historias de los dioses y los hombres en la colección Mariano Moret. Nuria Blaya Estrada. Esteban Morcillo Sánchez Rector de la Universitat de València Antonio Ariño Villaroya Vicerector de Cultura i Igualtat de la Universitat de València La Universitat de València, a través de esta exposición, «Grabados maes- tros. La huella de Durero y Lucas van Leyden en la colección Mariano Moret», vuelve a apoyar la gran labor que desarrollan los coleccionistas privados, primero, en la conservación del patrimonio cultural y, segun- do, en su puesta en valor ante la sociedad. En esta ocasión, reconoce y difunde la cuidada selección de estampas de los siglos XV, XVI y XVII compuesta y organizada por Mariano Moret. Una exposición que aden- tra al espectador en el mundo del grabado, un arte útil, influyente y peculiar, no siempre reconocido, que a lo largo del tiempo ha cumplido numerosas funciones. Desde sus inicios, permitió la transmisión de ideas, ciencia y conocimiento, de estilos y modas, fue un medio artístico y de propaganda, ilustró y ornamentó textos, propició la piedad íntima y la contemplación privada de asuntos diversos. El fruto resultante del proce- so técnico del grabado son las estampas, piezas delicadas de tinta sobre papel, grandes o diminutas, algunas de las cuales tienen más de cinco siglos de historia, como la propia Universitat de València. Por su forma o contenido, han podido estar expuestas a peligros y a una fácil destruc- 9 ción. Desde que fueron producidas, este tipo de obras fueron objeto de un mercado, popular o selecto, y muchas de ellas acabaron formando colecciones privadas como la que hoy se expone. Más allá de su calidad artística, creadas bajo el influjo de dos gran- des maestros grabadores como Durero y Lucas van Leyden, estas estam- pas se convierten en fuentes de una época, en documentos históricos que permiten acercarse a un período convulso y a los temas dominantes y predilectos del momento. Queremos agradecer el trabajo de todas las personas que han hecho posible este proyecto expositivo, en especial a los comisarios de la ex- posición, los profesores Felipe Jerez y Nuria Blaya. Para el catálogo han elaborado diversos estudios que nos sitúan en el contexto complejo al que pertenecen las obras, explican las técnicas seguidas para su obtención, presentan la huella influyente de los dos maestros en el grabado alemán y holandés e ilustran acerca de los asuntos bíblicos, mitológicos, alegóricos y cotidianos, llenos de virtudes, vicios y pasiones, que se representan. La Universitat de València pretende mostrar, una vez más, su com- promiso continuo con la historia, la cultura, el arte y el respaldo a quie- nes, como Mariano Moret, contribuyen con su esfuerzo personal a la preservación y cuidado de una porción significativa de nuestro pasado. 10 “Mas Durero, aunque admirable también en otros aspectos, ¿qué será lo que no exprese en monocromía, esto es, con líneas negras? (...) ¿Y no es más prodigioso lograr sin el halago del color lo que Apeles lograra con su ayuda?” (Erasmo de Rotterdam, De recta Latini Graecique sermonis pronuntiatione) 01 El contexto histórico cultural del grabado centroeuropeo del siglo XVI y su proyección en la colección Mariano Moret Felipe Jerez Moliner (Universitat de València) y Nuria Blaya Estrada (Florida Universitaria) La selecta colección de estampas de Mariano Moret permite comprobar claramente la influencia que ejercieron los maestros Durero y Lucas van Leyden en el arte del grabado centroeuropeo del siglo XVI, pero también acercarse a algunas de las importantes funciones que la estampa cumplió en Occidente durante ese periodo. A través de las obras expuestas puede admirarse la huella evidente de estos dos genios, tanto en los grabadores de su misma generación como en los de las inmediatamente posteriores.1 13 Como se verá, las posibles causas que contribuyeron a expandir dicha impronta son muchas y variadas, aunque puede ser suficiente mencionar sólo tres de ellas. La primera es de carácter puramente técnico, puesto que entre los rasgos esenciales del arte gráfico se encuentran su multipli- cidad y fácil distribución. Un hecho que, sin duda, benefició la difusión y contemplación temprana de sus obras por numerosos territorios. La se- gunda, vinculada a esta, se encuentra en el protagonismo que el grabado ya había adquirido a comienzos del siglo XVI como apoyo visual del libro impreso, como sistema de respuesta eficaz y accesible a la piedad íntima y como medio escogido por gobernantes y poderosos para su propa- ganda, glorificación y disfrute. Este auge, que llevó consigo un creciente comercio de estampas tanto popular como elitista, provocó un respaldo decisivo a la profesión de grabador, puesto que contribuyó al aumento significativo de encargos, así como a la proliferación de artistas y talleres de grabado por distintas ciudades. La tercera causa es igualmente impor- tante y se basa en la gran calidad y originalidad técnica, iconográfica, compositiva y, en general, artística de los grabados de ambos maestros, razón fundamental para ser objeto de imitación y admiración a lo largo del tiempo. Las estampas de la colección Mariano Moret presentan una serie de aspectos comunes y están unidas por una línea argumental, dentro de un marco cronológico amplio pero bastante bien definido, entre finales del siglo XV y comienzos del XVII. La gran mayoría de las piezas que forman la colección fueron realizadas por grabadores que nacieron y trabajaron durante el siglo XVI desde diversas regiones del centro y norte de Europa. Históricamente, la época es especialmente significativa, con profundos cambios y conflictos políticos, religiosos y sociales, así como importan- tes descubrimientos técnicos, científicos y geográficos. Se culmina el paso de la Edad Media a la Edad Moderna, del poder feudal a las monarquías autoritarias y el Estado moderno. Es el periodo de expansión del movi- miento humanista y del Renacimiento desde Italia al resto de Europa, incluidos los países del norte. Es el momento en el que se consolida y 14 extiende la «devotio moderna», sobre todo en ciudades holandesas y alemanas, heredera de los movimientos religiosos que desde finales de la Edad Media abogaban por una espiritualidad personal basada en el pro- pio conocimiento y en el diálogo con Dios, tanto en comunidades laicas como monacales. Esta nueva forma de piedad interior se beneficia de la invención de la imprenta, del estudio de los textos fundamentales de la cristiandad, de la expansión de las ideas humanistas a través de Erasmo de Rotterdam y otros teólogos, así como de la creación de determinadas imágenes artísticas religiosas, muchas de ellas difundidas
Load more

Recommended publications
  • Lucas Van Leyden: Prints from the Testaments La Salle University Art Museum
    La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 3-1984 Lucas Van Leyden: Prints from the Testaments La Salle University Art Museum Brother Daniel Burke FSC Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum and Burke, Brother Daniel FSC, "Lucas Van Leyden: Prints from the Testaments" (1984). Art Museum Exhibition Catalogues. 74. http://digitalcommons.lasalle.edu/exhibition_catalogues/74 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. Lucas van Leyden Prints Frcm The Testaments LaSalle College Art Museum March 1 - April 30, 1984 For many years, students of In. Salle College had the privilege of pursuing a course in the history of graphic art at the Alverthorpe Gallery in nearby Jenkintown. Lessing Rosenwald himself would on occasion join our Professor Ihomas Ridington or Herman Gundersheimer and the students for an afternoon with Rerrbrandt, Durer, or Lucas van Leyden. After Mr. Rosenwald's death and the transfer of his collection to the National Gallery of Art in Washington, the course had to be pursued, it need hardly be said, in much reduced circunstances. But the present exhibition, which returns many of Mr. Rosenwald's Lucas van Leyden prints from the National Gallery to the Rosenwald Roc*n in the La Salle Museum, recreates briefly for us the happy circumstances of earlier, halcyon days.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries
    CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ...
    [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]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 Permalink https://escholarship.org/uc/item/6r20h5s3 Author Kelly, Jessen Lee Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Elizabeth Honig, Chair Professor Whitney Davis Professor Niklaus Largier Fall 2011 © 2011, by Jessen Lee Kelly All rights reserved. Abstract Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly Doctor of Philosophy in History of Art University of California, Berkeley Professor Elizabeth Honig, Chair This dissertation examines the relationships between chance and visual culture during the Northern Renaissance, focusing on the use of images in the deliberate, ritualized application of chance in games and divination. I argue that, prior to the development of probability theory in the seventeenth century, images served a critical function in encountering and negotiating uncertainties about the future. The casting of lots for prognostication and play was nothing new in the fifteenth and sixteenth centuries. Yet, aided in part by the growing print industry, the period witnessed the development of new and varied forms for these practices, forms that were increasingly pictorial in character.
    [Show full text]
  • Rembrandt's 1654 Life of Christ Prints
    REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
    [Show full text]
  • Sex and Slaughter in the Tent of Jael Ii Iii
    i Sex and Slaughter in the Tent of Jael ii iii Sex and Slaughter in the Tent of Jael A Cultural History of a Biblical Story z COLLEEN M. CONWAY 1 iv 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2017 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging- in- Publication Data Names: Conway, Colleen M., author. Title: Sex and slaughter in the tent of Jael: a cultural history of a biblical story/Colleen M. Conway. Description: New York, NY: Oxford University Press, [2016] |?2016 | Includes bibliographical references and index. Identifiers: LCCN 2016006303 | ISBN 9780190626877 (hardback: alk. paper) Subjects: LCSH: Bible. Judges, IV-V—Criticism, interpretation, etc.
    [Show full text]
  • Figures for the Soul
    FIGURES FOR THE SOUL ELIZABETH DWYER BARRINGER-LINDNER FELLOW FIGURES FOR THE SOUL ELIZABETH DWYER BARRINGER-LINDNER FELLOW Front Cover (left to right): Albrecht Dürer German, 1471-1528 The Scourging of Christ (The Flagellation of Christ) from the Engraved Passion series (1507-1512), 1512 Engraving, 4 9/16 x 3 in. (11.59 x 7.62 cm) Museum Purchase with Curriculum Support Funds, 1982.5 Hendrick Goltzius, Dutch, 1558 – 1617 Pietà, 1596 Engraving, 7 1/2 x 5 1/8 in. (19.05 x 13.02 cm) (sheet) Museum Purchase with Curriculum Support Funds, 1988.28 The Fralin Museum of Art’s programming is made possible by the generous support of The Joseph and Robert Cornell Memorial Foundation. The exhibition is also made possible through generous support of the Arts$, the Suzanne Foley Endowment Fund, WTJU 91.1 FM albemarle Magazine, and Ivy Publications LLC’s Charlottesville Welcome Book. CATALOGUE ROTATION I Figures for the Soul “Among all the paintings here, PRINTS BY those by Dürer interest me the most…[his] are figures which ALBRECHT DÜRER remain in the soul.” Of the many who have praised Albrecht Dürer Arranged chronologically, the following — Johann Gottfried von Herder, 1788 (1471–1528), none so eloquently capture the works chart his evolving technique from the aesthetic of his work as von Herder. Today rudimentary design of early woodcuts to esteemed as the premier artist of the Northern the refined modulation of late engravings. Renaissance and the father of German Art, Among the Museum’s stunning examples Dürer mastered painting, drawing, watercolor, are twinned prints from two of his most cel- art theory, and mathematics.
    [Show full text]
  • Job and His Comforters : a Comprehensive Report Based on Technical and Art Historical Analysis
    1 JOB AND HIS COMFORTERS : A COMPREHENSIVE REPORT BASED ON TECHNICAL AND ART HISTORICAL ANALYSIS THE COURTAULD INSTITUTE OF ART RESEARCH FORUM : CONSERVATION AND ART HISTORICAL ANALYSIS WORKS FROM THE COURTAULD GALLERY PROJECT Harriet Pearson and Alexandra Thom 2 Abstract Harriet Pearson, MA Painting Conservation, and Alexandra Thom, MA History of Art, conducted the following study while employed by The Courtauld Institute of Art Research Forum from January to July 2011. Job and His Comforters , the painting undergoing consideration, entered the The Courtauld Gallery collection as part of the Lee Bequest, at which point the work was titled The Scorn of Job . It is currently in the painting store and has not been displayed since its acquisition. This report aims to contextualize Job and His Comforters , both through its material history and iconography, in mid 16 th century Netherlandish practice. At the outset, the authors will introduce the narrative of Job—as it was developed in the biblical Book of Job and in various secular sources—and its specific interpretation in the panel painting. We will then discuss the probable place and time of production, and how this particular historical and cultural context might have played a role in deciding the painting’s dramatic content, composition, style, and iconography. Finally, the authors will compare certain elements of the painting—its composition and content—with contemporary Netherlandish paintings in an effort to situate Job and His Comforters in a tradition of Northern European panel painting. This report is the product of a collaborative effort between The Courtauld Gallery, The Courtauld Institute of Art, and the Department of Conservation & Technology, and its findings reflect those accrued from both art historical examination and technical practice.
    [Show full text]
  • An Intertextual and Intervisual Engagement with Pieter Bruegel the Elder’S Religious Paintings
    CAUGHT BETWEEN THE FOLDS: AN INTERTEXTUAL AND INTERVISUAL ENGAGEMENT WITH PIETER BRUEGEL THE ELDER’S RELIGIOUS PAINTINGS A Thesis Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Master of Arts By Sophia Quach McCabe January, 2010 Approval(s): Ashley West, Thesis Advisor, Art History Department Marcia B. Hall, Committee Member, Art History Department TABLE OF CONTENTS PAGE LIST OF FIGURES........................................................................................................iii CHAPTER 1. INTRODUCTION ...............................................................................................1 2. AUDIENCE AND PATRONAGE.......................................................................9 3. SOCIAL, RELIGIOUS, AND POLITICAL CLIMATE IN SIXTEENTH- CENTURY NETHERLANDS...........................................................................19 4. BRUEGEL’S ‘SLOW FUSE’ ............................................................................32 5. CONCLUSIONS ............................................................................................... 56 BIBLIOGRAPHY .........................................................................................................69 ii LIST OF FIGURES Figure Page 1. Pieter Bruegel the Elder, Procession to Calvary....................................................60 2. Pieter Bruegel the Elder, Sermon of St. John the Baptist .......................................60 3. Pieter Bruegel the Elder, Conversion of St. Paul
    [Show full text]
  • Albrecht Dürer's “Oblong Passion”
    ALBRECHT DÜRER’S “OBLONG PASSION”: THE IMPACT OF THE REFORMATION AND NETHERLANDISH ART ON THE ARTIST’S LATE DRAWINGS by DANA E. COWEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY January, 2014 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Dana E. Cowen ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Catherine B. Scallen (signed)_______________________________________________ (chair of the committee) Jon L. Seydl ________________________________________________ Holly Witchey ________________________________________________ Erin Benay ________________________________________________ 4 November 2013 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. This dissertation is dedicated to my parents, Nancy and John, and to my brother Mark Table of Contents Table of Contents i List of Figures ii Acknowledgements xi Introduction 1 Chapter One 23 Albrecht Dürer in the Netherlands, 1520 to 1521: The Diary and Works of Art Chapter 2 58 Dürer and the Passion: The “Oblong Passion” and its Predecessors Chapter 3 111 Dürer, Luther, and the Reformation: The Meaning of the “Oblong Passion” Chapter 4 160 The “Oblong Passion” Drawings and their Relationship to Netherlandish Art Conclusion 198 Appendix 1: 204 Martin Luther. “Ein Sermon von der Betrachtung des heiligen Leidens Christi” (A Sermon on Meditating on the Holy Passion of Christ), 1519 Appendix 2: 209 The Adoration of the Magi Appendix 3: 219 The Progression of Scholarship on Fifteenth- and Sixteenth-Century Netherlandish and German Drawings from the Late Nineteenth-Century to the Present Figures 233 Bibliography 372 i List of Figures Fig.
    [Show full text]
  • News Release
    NEWS RELEASE FOliRTH STRKKT AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215/842-6353 FOR IMMEDIATE RELEASE CONTACT: Deborah Ziska Liz Kimball (202) 842-6353 SURVEY OF WOMEN IN RENAISSANCE AND BAROQUE PRINTS AT THE NATIONAL GALLERY OF ART Washington, DC, October 2, 1990 A provocative survey of the ways in which male artists depicted "woman" in prints of the fifteenth through seventeenth centuries will be presented in the West Building of the National Gallery of Art, November 25, 1990 through April 28, 1991. Eva/Ave; Woman in Renaissance and Baroque Prints, which will only be seen at the Gallery, is comprised of 152 etchings, woodcuts, metalcuts, and engravings from Italian, French, German, Swiss, Dutch, and Flemish regions. All but two of the works are from the Gallery's collection of old master prints and more than 100 have been donated to the Gallery since 1943 by the late Lessing J. Rosenwald. In addition to well-known printmakers such as Rembrandt, Diirer, Callot, and Barocci, the exhibition includes the work of many other master printmakers. "The great breadth and depth of the Rosenwald Collection is demonstrated in this unique exhibition," said National Gallery director J. Carter Brown. "This is the first time that a show has focused on the subject of how woman was represented in prints of the Renaissance and baroque periods, and it is part of a growing interest in the portrayal of women in art." -more- women . page two Many of the images will be familiar to visitors because they are among the best known of old master prints: woodcuts by Diirer from his Life of the Virgin series, Bewitched Groom by Baldung Grien, Angry Wife by Israhel van Meckenem, and Susanna and the Elders by Jegher, after Rubens.
    [Show full text]