Early Prints Depicting Eyeglasses
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Albrecht Dürer - Engl
Leseprobe Albrecht Dürer - engl. Bestellen Sie mit einem Klick für 49,00 € Seiten: 488 Erscheinungstermin: 23. September 2019 Mehr Informationen zum Buch gibt es auf www.penguinrandomhouse.de Duerer_englisch_1_67 13.08.19 15:28 Seite 1 DÜRERAlbrecht Duerer_englisch_1_67 13.08.19 15:28 Seite 4 Lenders to the Exhibition We thank all our lenders, who entrusted their invaluable works of art to us for the period of the exhibition: Staatliche Museen zu Berlin, Gemäldegalerie Staatliche Museen zu Berlin, Kupferstichkabinett Kunsthalle Bremen Gallerie degli Uffizi, Florence Städel Museum, Frankfurt am Main Hamburger Kunsthalle, Kupferstichkabinett Wallraf-Richartz-Museum & Fondation Corboud, Cologne Museu Nacional de Arte Antiga, Lisbon The British Museum, London The National Gallery, London Museo Nacional del Prado, Madrid Museo Nacional Thyssen-Bornemisza, Madrid Veneranda Biblioteca Ambrosiana, Milan Bayerische Staatsgemäldesammlungen, Munich Germanisches Nationalmuseum, Nuremberg, Sammlung Bernhard Hausmann Kunstsammlungen der Stadt Nürnberg, Nuremberg Bibliothèque nationale de France, Paris Fondation Custodia—Collection Frits Lugt, Paris Musée du Louvre, Paris, Département des Arts graphiques National Gallery of Art, Washington Klassik Stiftung Weimar, Graphische Sammlungen Akademie der bildenden Künste, Vienna Kunsthistorisches Museum, Vienna, Gemäldegalerie Duerer_englisch_1_67 19.08.19 14:44 Seite 5 klaus albrecht schröder 8 Foreword julia zaunbauer 12 Albrecht Dürer: A Biography christof metzger 36 Dürer, the Draftsman christof metzger -
A Cidade Real E Ideal: a Paisagem De Nuremberg Na Crônica De Hartmann Schedel E a Sua Concepção De Espaço Urbano
A CIDADE REAL E IDEAL: A PAISAGEM DE NUREMBERG NA CRÔNICA DE HARTMANN SCHEDEL E A SUA CONCEPÇÃO DE ESPAÇO URBANO LA CIUDAD REAL E IDEAL: EL PAISAJE DE NUREMBERG EN LA CRÓNICA DE HARTMANN SCHEDEL Y SU CONCEPCIÓN DE ESPACIO URBANO THE REAL AND IDEAL CITY: THE NUREMBERG LANDSCAPE IN HARTMANN SCHEDEL’S CHRONICLE AND ITS CONCEPTION OF URBAN SPACE Vinícius de Freitas Morais Universidade Federal Fluminense [email protected] Fecha de recepción: 11/10/2016 Fecha de aprobación: 01/06/2017 Resumo A partir de uma concepção de espaço confeccionada pela elite local de Nuremberg, buscava-se, através de um projeto tipográfico promover uma imagem ideal para esta cidade. Hartmann Schedel, um importante humanista local em conjunto com o impressor Anton Koberger e os gravadores Micheal Wolgemut e Wilhem Pleydenwurff produziram duas edições do imponente incunábulo comumente conhecido pela historiografia como A Crônica de Nuremberg. Este presente artigo tenta, a partir de uma comparação entre fonte escrita e imagética, elucidar esta apologia de Nuremberg como um importante polo econômico para a região da Baviera. Palavras-chave Cidade – Incunábulo - humanismo Resumen A partir de una concepción de espacio confeccionada por la élite local de Nuremberg, se buscaba, a través de un proyecto tipográfico promover una imagen ideal para esta ciudad. Hartmann Schedel, un importante humanista local, en conjunto con el impresor Anton Koberger y los grabadores Micheal Wolgemut y Wilhem Pleydenwurff, produjeron dos ediciones del imponente incunable comúnmente conocido por la historiografía como La Crónica de Nuremberg. Este presente artículo intenta, a partir de una comparación entre fuente escrita e imagética, elucidar esta apología de Nuremberg como un importante polo económico para la región de Baviera. -
Printed from the Time of Gutenberg’S Were Both Scribes and Illuminators Who Established Invention1
GD 135 HISTORY OF GRAPHIC DESIGN Chapter 6: ����������������������������������������������������� TERMS: PEOPLE AND PLACES: • Incunabula (pg. 85) • Nuremberg, Germany (pg. 89) • Broadsides, broadsheets (pgs. • Martin Luther (pgs. 94-97) 85, 87) • Erhard Reuwich (pg. 89) • Exemplars (pg. 87) • Günther & Johann Zainer (pgs. • Aesop’s Vita et fabulae (pgs. 87, 87-88) 88) • Anton Koberger (pgs. 90-93) • Peregrinationes in Montem Syon • Albrecht Dürer (pgs. 93-95) (pgs. 88, 89) • William Caxton (pgs.97-100) • Nuremberg Chronicle (pgs. 90- • Arnao Guillen de Brocar (pg. 101) 93) • Dürer’s The Apocalypse (pgs. 92, 93) • Teuerdank (pgs. 94, 95) • Polyglot Bible (pgs. 100-101) From a page in Aesop’s Vita et fabulae, 1476. ���������������������������������������������������������������������������������������������������������������������������������� Chapter 6 Study Questions Historians used the term “incunabula” to describe The German brothers Günther and Johann Zainer early books printed from the time of Gutenberg’s were both scribes and illuminators who established invention1. to the end of the 15th century� What does the printing5. businesses that popularized illustrated books� They word “incunabula” mean? expanded beyond topics of religion and theology to include popular literature and folktales such as ________________� A� cradle, or baby linen C� incurable insomniac A� Historia Griseldis and Aesop’s Life and Tales� B� a new era D� a revolution B� The Papyrus of Ani and the Book of the Dead. By 1500, printing was produced in more than 140 C� The Gutenberg Bible and the Psalter in Latin� towns, replacing many of the scriptori which made manuscripts2. � Which of the following is NOT a result of this D� The Qur’an and the Diamond Sutra� new mechanized craft? Erhard Reuwich was the first _________________ to A� Books became less C� Illiteracy increased due be identified as such for his work in Peregrinationes in costly to make� to lack of books� Montem6. -
FINDING AID to the RARE BOOK LEAVES COLLECTION, 1440 – Late 19/20Th Century
FINDING AID TO THE RARE BOOK LEAVES COLLECTION, 1440 – Late 19/20th Century Purdue University Libraries Virginia Kelly Karnes Archives and Special Collections Research Center 504 West State Street West Lafayette, Indiana 47907-2058 (765) 494-2839 http://www.lib.purdue.edu/spcol © 2013 Purdue University Libraries. All rights reserved. Processed by: Kristin Leaman, August 27, 2013 Descriptive Summary Title Rare Book Leaves collection Collection Identifier MSP 137 Date Span 1440 – late 19th/early 20th Century Abstract The Rare Book Leaves collection contains leaves from Buddhist scriptures, Golden Legend, Sidonia the Sorceress, Nuremberg Chronicle, Codex de Tortis, and an illustrated version of Wordsworth’s poem Daffodils. The collection demonstrates a variety of printing styles and paper. This particular collection is an excellent teaching tool for many classes in the humanities. Extent 0.5 cubic feet (1 flat box) Finding Aid Author Kristin Leaman, 2013 Languages English, Latin, Chinese Repository Virginia Kelly Karnes Archives and Special Collections Research Center, Purdue University Libraries Administrative Information Location Information: ASC Access Restrictions: Collection is open for research. Acquisition It is very possible Eleanore Cammack ordered these Information: rare book leaves from Dawson’s Book Shop. Cammack served as a librarian in the Purdue Libraries. She was originally hired as an order assistant in 1929. By 1955, she had become the head of the library's Order Department with a rank of assistant professor. Accession Number: 20100114 Preferred Citation: MSP 137, Rare Book Leaves collection, Archives and Special Collections, Purdue University Libraries Copyright Notice: Purdue Libraries 7/7/2014 2 Related Materials MSP 136, Medieval Manuscript Leaves collection Information: Collection of Tycho Brahe engravings Collection of British Indentures Palm Leaf Book Original Leaves from Famous Books Eight Centuries 1240 A.D.-1923 A.D. -
1 a Place Is Carefully Constructed: Reading the Nuremberg Cityscape
A Place is Carefully Constructed: Reading the Nuremberg Cityscape in the Nuremberg Chronicle Kendra Grimmett A Sense of Place May 3, 2015 In 1493 a group of Nuremberg citizens published the Liber Chronicarum, a richly illustrated printed book that recounts the history of the world from Creation to what was then present day.1 The massive tome, which contains an impressive 1,809 woodcut prints from 645 different woodblocks, is also known as the Nuremberg Chronicle. This modern English title, which alludes to the book’s city of production, misleadingly suggests that the volume only records Nuremberg’s history. Even so, I imagine that the men responsible for the book would approve of this alternate title. After all, from folios 99 verso through 101 recto, the carefully constructed visual and textual descriptions of Nuremberg and its inhabitants already unabashedly favor the makers’ hometown. Truthfully, it was common in the final decades of the fifteenth century for citizens’ civic pride and local allegiance to take precedence over their regional or national identification.2 This sentiment is strongly stated in the city’s description, which directly follows the large Nuremberg print spanning folios 99 verso and 100 recto (fig. 1). The Chronicle specifies that although there was doubt whether Nuremberg was Franconian or Bavarian, “Nurembergers neither wished to be 1 Scholarship on the Nuremberg Chronicle is extensive. See, for instance: Stephanie Leitch, “Center the Self: Mapping the Nuremberg Chronicle and the Limits of the World,” in Mapping Ethnography in Early Modern Germany: New Worlds in Print Culture (Basingstoke; New York: Palgrave Macmillan, 2010), 17-35; Jeffrey Chipps Smith, “Imaging and Imagining Nuremberg,” in Topographies of the Early Modern City, ed. -
Press Relation: City Museum at Fembo's House
Press release 23.11.2016 City of Nuremberg Municipal Museums Contact: PR department Hirschelgasse 9-11 City Museum at Fembo’s House 90403 Nuremberg Tel.: +49 (0)911 / 2 31-54 20 Fax: +49 (0)911 / 2 31-1 49 81 Nuremberg's only surviving large Late Renaissance merchant's house [email protected] – halfway up the hill to the Imperial Castle – invites visitors to . experience a trip through the city's past. Priceless original rooms, City Museum at the Fembohaus staged settings and audio plays bring 950 years of Nuremberg's Burgstraße 15 history to life. The museum's Exhibition Forum, with its changing 90403 Nürnberg Tel.: +49 (0)9 11 / 2 31-25 95 presentations, is a showcase for the city's history, art and culture. Fax: +49 (0)9 11 / 2 31-25 96 stadtmuseum-fembohaus@ For centuries, Nuremberg had been at the center of German and European stadt.nuernberg.de history. It was one of the most powerful imperial cities of the Holy Roman Empire and was the city most frequently visited by German emperors and museen.nuernberg.de kings. Trade and crafts brought Nuremberg wealth, power, and recognition. By the fourteenth century, the city had developed into a flourishing trade center. Nuremberg merchants had extensive international trade connections, maintained branch offices all over Europe, and were represented at all trade fairs and markets. During the German Renaissance, Nuremberg was home to famed artist Albrecht Dürer and Europe's largest printer-publisher, Anton Koberger. In 1525, Nuremberg was one of the first major German cities to introduce Lutheran Reformation. -
Venetian Capital, German Technology and Renaissance Culture in the Later Fifteenth Century
Lowry, M. Venetian Capital, German Technology and Renaissance Culture in the Later Fifteenth Century pp. 1-13 Lowry, M., (1988) "Venetian Capital, German Technology and Renaissance Culture in the Later Fifteenth Century", Renaissance studies, 2, 1, pp.1-13 Staff and students of University of Warwick are reminded that copyright subsists in this extract and the work from which it was taken. This Digital Copy has been made under the terms of a CLA licence which allows you to: • access and download a copy; • print out a copy; Please note that this material is for use ONLY by students registered on the course of study as stated in the section below. All other staff and students are only entitled to browse the material and should not download and/or print out a copy. This Digital Copy and any digital or printed copy supplied to or made by you under the terms of this Licence are for use in connection with this Course of Study. You may retain such copies after the end of the course, but strictly for your own personal use. All copies (including electronic copies) shall include this Copyright Notice and shall be destroyed and/or deleted if and when required by University of Warwick. Except as provided for by copyright law, no further copying, storage or distribution (including by e-mail) is permitted without the consent of the copyright holder. The author (which term includes artists and other visual creators) has moral rights in the work and neither staff nor students may cause, or permit, the distortion, mutilation or other modification of the work, or any other derogatory treatment of it, which would be prejudicial to the honour or reputation of the author. -
For Melchior Schedel
Bayerische Staatsbibliothek. Ausstellungskataloge. 89 This book accompanies the exhibition »Welten des Wissens. Die Bibliothek und Weltchronik des Nürnberger Arztes Hartmann Schedel (1440–1514)« held from 19 November 2014 to 1 March 2015 in the Bayerische Staatsbibliothek Munich. For more information on the exhibition and the Bayerische Staatsbibliothek see www.bsb-muenchen.de Exhibition and catalogue: Bettina Wagner Translations: Diane Booton and Bettina Wagner, with editorial assistance by Anthony Davis, Mirjam Foot and Giles Mandelbrote Exhibition design: Christine Kühn Photographs: Bayerische Staatsbibliothek Munich, with exception of: Staatsbibliothek zu Berlin – Preußischer Kulturbesitz (pp. 21-22), Landesbibliothek Coburg (pp. 155), Germanisches Nationalmuseum Nuremberg (pp. 15). All vignettes without caption have been taken from Hartmann Schedel’s personal copy of the World Chronicle (Munich, BSB, Rar. 287) Produced with financial support from the Association Internationale de Bibliophilie (AIB). Worlds of Learning The Library and World Chronicle of the Nuremberg Physician Hartmann Schedel (1440–1514) Edited by the Bayerische Staatsbibliothek For more information on the publisher see www.allitera.de April 2015 Allitera Verlag An imprint of Buch&media GmbH, Munich © 2015 Buch&media GmbH, Munich Cover design: Christine Kühn, using the portrait of Hartmann Schedel in Clm 30 (cat. 4.1), the map of northern Italy from Rar. 124 (cat. 3.1) and the view of Padua and the illustration for the forth day of Creation from the World Chronicle from Rar. 287 (cat. 1.1) Printed in Germany ISBN 978-3-86906-757-5 Inhalt Preface by Rolf Griebel ............................................ 7 Introduction by Bettina Wagner ..................................... 9 The rise and decline of a Nuremberg family ................... -
Merisalo Ars Et Humanitas 8 2 2014.Pdf
This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Author(s): Merisalo, Outi Title: Scripsi manu mea Hartmann Schedel in Munich, Bayerische Staatsbibliothek, clm 490 Year: 2014 Version: Please cite the original version: Merisalo, O. (2014). Scripsi manu mea Hartmann Schedel in Munich, Bayerische Staatsbibliothek, clm 490. Ars et Humanitas, 8(2), 119-130. https://doi.org/10.4312/ars.8.2.119-130 All material supplied via JYX is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. OUTI MERISALO / SCRIPSI MANU MEA. HARTMANN SCHEDEL IN MUNICH Outi Merisalo Scripsi manu mea Hartmann Schedel in Munich, Bayerische Staatsbibliothek, clm 490 Keywords: German humanism, Hartmann Schedel, palaeography, codicology, book history DOI: 10.4312/ars.8.2.119-130 Th e Padua-trained1 medical doctor Hartmann Schedel (1440–15142) of Nuremberg is today perhaps best known for his Liber Chronicarum, printed in Latin and German (Weltchronik) in 1493 with an ambitious programme of xylographies.3 Th anks to his well-spent study years in Padua (1463–1466),4 he also played an important role in the dissemination of Italian humanism north of the Alps, as witnessed, for example, by his collection of inscriptions5 and transcription of part of the fi rst book of Poggio Bracciolini’s De varietate fortunae contained in the ms. -
Printers: New Cultural Actors in Europe Beginning in the Late fifteenth Century
Humanists and Europe Printers: new cultural actors in Europe beginning in the late fifteenth century Catherine KIKUCHI ABSTRACT Printing was born in Germany with the production of the Gutenberg Bible, although printers set up shop across all of Europe beginning in the first decades of the century. They specialized, organized, and collaborated with merchants and bookshops. This new industry was particularly concentrated in merchant cities and university towns. Their editorial strategies sought to reach an increasingly broader audience which was not limited to persons of letters, although important printers worked with the Humanists for the diffusion of high quality revised editions. Their collaboration involved ancient texts, such as the Greek editions of Aldus Manutius, as well as religious texts, the Bible in particular. Printing was thus a driver of religious and intellectual renewal, but was also suspected of conveying harmful and heretical ideas; with the Reformation and Counter-Reformation, printers were increasingly controlled by political and religious authorities, a control that some of them were able to circumvent. The invention and diffusion of printing The birth of printing in Europe is dated as 1452, when Johann Gutenberg produced the 42-line Bible in Mainz with the help of Peter Schöffer and funding from Johann Fust. This invention takes its place in the long-term history of technology, stretching from Chinese and Korean printing methods to engraved Bibles for the poor in the fourteenth and fifteenth centuries. The true change with Gutenberg was not so much the press itself, but the use of movable type. Furthermore, the success of printing was also due to its connection with important merchants who invested in this new art, such as Johann Fust. -
A Short History of English Printing : 1476-1900
J \ Books about Books Edited by A. W. Pollard A Short History of English Printing BOOKS ABOUT BOOKS Edited bv A. W. POLLARD POPULAR RE-ISSUE BOOKS IN MANUSCRIPT. By Falconer Madan, Bodley's Librarian, Oxford. THE BINDING OF BOOKS. By H. P. HORNE. A SHORT HISTORY OF ENGLISH PRINTING. By II. K. Plomer. EARLY ILLUSTRATED BOOKS. By A. W. POLI.ARD. Other volumes in pi-eparatioit. A Short History of English Printing 1476-1900 By Henry R. Plomer London Kegan Paul, Trench, Triibncr & Co., Ltd. Broadway House, 68-74 Carter Lane, E.C, MDCCCCXV I-'irst Edition, 1900 Second (Popular) Edition, 1915 The rights of translation and of reproduction are reserved Editor's Preface When Mr. Plomer consented at my request to write a short history of EngHsh printing which should stop neither at the end of the fifteenth century, nor at the end of the sixteenth century, nor at 1640, but should come down, as best it could, to our ovm day, we were not without appre- hensions that the task might prove one of some difficulty. How difficult it would be we had certainly no idea, or the book would never have been begun, and now that it is Imished I would bespeak the reader's sympathies, on Mr. Plomer 's behalf, that its inevitable shortcomings may be the more generously forgiven. If we look at what has already been written on the subject the diffi- culties will be more easily appreciated. In England, as in other countries, the period in the history of the press which is best known to us is, by the perversity of antiquaries, that which is furthest removed from our own time. -
Spotlights Albrecht Dürer and the Renaissance North of the Alps
Spotlight: The New Apelles Albrecht Dürer and the Renaissance North of the Alps DR. JÖRN GÜNTHER · RARE BOOKS AG Manuskripte unD seltene Bücher [email protected] www.guenther-rarebooks.com How is it possible that the son of an ordinary – successful, but not outstanding – goldsmith became not only Germany’s most celebrated ar:st but also an interna:onal leading figure in Europe’s cultural life? Centuries of reflec:on, studies, and research on the topic of Albrecht Dürer have brought to light new insights and discoveries about the ar:st and his works. Moreover, Dürer – and his father before him – have passed down a family chronicle that tells us about the personal history of the ar:st and his next of kin. But s:ll, many ques:ons about the great ar:st remain open and Albrecht Dürer, Self-portrait at 13 years, unanswered. silverpoint, Vienna, Graphische Sammlung, Alber:na His father, as we can deduce from his own self portrait, was a very talented draughtsman, who apparently learned the best part of his craft during his years of travel in the Netherlands, where he became familiar with the celebrated works of the “great masters” (Jan van Eyck, Rogier van der Weyden, and others), as his son would later call them in his chronicle. The young Albrecht Dürer learned his outstanding mastery in silverpoint pen and burin during his apprenticeship in his father’s workshop. Albrecht the Elder must have been very proud of his son and eager to hand the family business over to him one day.