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Dürer in Chiaroscuro: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints

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Dürer in Chiaroscuro: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints chapter 15 Dürer in Chiaroscuro: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints Anja Grebe* The Beginnings of the ‘Fine Art’ Colour Woodcut in ‘getruckt kurisser’ (printed cuirassiers) are presumed to be Germany Burgkmair’s St George on Horseback, of which one impres­ sion in gold, silver and black on parchment survives,4 and On 24 September 1508, the imperial counsellor and its pendant, Maximilian I on Horseback, of which two humanist Konrad Peutinger drafted a letter to His Excel­ impressions in gold and black, one on parchment and one lency, Friedrich iii, Elector of Saxony.1 He thanked on paper, are known.5 The latter responded to Cranach’s Friedrich iii for having sent him a print of a ‘kurisser’ print with a Venetian touch, as the design is modelled on (French: cuirassier; an equestrian in a suit of armour) the Andrea del Verrocchio’s bronze statue Bartolomeo Colleoni previous year that the Elector’s court artist had printed in (c.1479–88) in Campo Ss. Giovanni e Paolo, Venice, and gold and silver. He also informed him about his recent possibly the architecture of Saint Mark’s Basilica, Venice.6 success in printing with gold and silver and asked for his Whether it was the patrons or artists who were trying to opinion on an enclosed sample. He sent Georg, Duke of outdo each other, both Burgkmair and Cranach depicted Saxony, a similar letter the next day, enclosing another the same imperial subjects with the same precious metals impression and specifying that he and ‘his artists’ had to create the same effect (Fig. 15.1).7 worked hard for several months to discover the secret of Cranach’s and Burgkmair’s ‘riders’ are considered to be ‘printing in gold and silver on parchment and paper’.2 the first single­sheet colour woodcuts (they are some­ Friedrich iii’s court artist was Lucas Cranach, and one of times called the first ‘real’ colour prints) in the West and the prints he sent is assumed to be St George on Horseback, the first artworks printed with precious metal in Germany.8 of which one copy in black and gold on paper survives.3 Peutinger worked closely with Hans Burgkmair, and the On earlier examples, see V. Carter, L. Hellinga and T. Parker, ‘Printing in Gold in the Fifteenth Century’, British Library Journal 9 (1983), 1–13. 4 Berlin, Kupferstichkabinett, 3–1924; tib 11: 29, no. 23; H­G 7: 74, no. * I would like to thank Ad Stijnman and especially Elizabeth Savage 253.Ia. for their valuable suggestions and comments, as well as information 5 For different states and editions, see H­G 7: 108–09, no. 323; T. Falk, about printing processes and surviving materials. Hans Burgkmair: Das graphische Werk, exh. cat. (Augsburg: 1 For excerpts from the original texts, see T. Falk, Hans Burgkmair: Städtische Kunstsammlungen, 1973), nos. 21–22; Dackerman, Studien zu Leben und Werk des Augsburger Malers (Munich: Painted Prints, 117–19, no. 12. On the impression on paper (Oxford, Bruckmann, 1968), 115, no. 36. Ashmolean Museum, Douce bequest); see Falk, Das graphische 2 Ibid., 115, no. 36b. Werk, no. 21a; C. Dodgson, ‘Rare Woodcuts in the Ashmolean 3 London, British Museum, 1895,0122.264. tib 11: 383, no. 65; H­G 6: 58, Museum, Oxford, ii. Other Woodcuts by Burgkmair’, The Burlington no. 81.Ia. G. Bartrum, ed., German Renaissance Prints, 1490–1550, exh. Magazine for Connoisseurs 39 (1921), 68–71, 74–75, esp. 68–70. On cat. (London: British Museum, 1995), 171–72, no. 173; G. Messling, ed., the impression on parchment (Art Institute of Chicago, 1961.3), see Die Welt des Lucas Cranach: Ein Künstler im Zeitalter von Dürer, Tizian H. Joachim, ‘Maximilian I by Burgkmair’, The Art Institute of Chicago und Metsys, exh. cat. (Brussels: Bozar Books, 2010), 132–33, no. 49; Quarterly 55 (1961): 5–9. S. Dackerman, Painted Prints: The Revelation of Color in Northern 6 L. Silver, Marketing Maximilian: The Visual Ideology of a Holy Roman Renaissance and Baroque Engravings, Etchings and Woodcuts, exh. Emperor (Princeton, nj: Princeton University Press, 2008), 112. cat. (Baltimore: The Baltimore Museum of Art; University Park, pa: 7 See E. Chmelarz, ‘Jost de Negker’s Helldunkelblätter Kaiser Max und Pennsylvania State University Press, 2002), 114–16, no. 11, states that St. Georg’, Jahrbuch der kunsthistorischen Sammlungen des the gold was not directly printed from the block, but applied through Allerhöchsten Kaiserhauses 15 (1894), 392–97; A. Reichel, Die Clair- flock printing. Elizabeth Savage contested this in E. Giselbrecht and Obscur-Schnitte des xvi., xvii. und xviii. Jahrhunderts (Zurich: E. Savage (formerly Upper), ‘Glittering Woodcuts and Moveable Amalthea, 1926), 12–18; Dodgson, Rare Woodcuts, 68–70. Music: Decoding the Elaborate Printing Techniques, Purpose, and 8 See Falk, Burgkmair, 70–71. M.J. Friedländer, ‘Burgkmairs Hl. Georg Patronage of the Liber Selectarum Cantionum’, in Senfl Studien I, ed. von 1508: Bemerkungen zu den Anfängen des deutschen S. Gasch, B. Lodes and S. Tröster, Wiener Forum für ältere Tonschnittes’, Jahrbuch der Preußischen Kunstsammlungen 46 (1925), Musikgeschichte 4 (Tutzing: Hans Schneider, 2012), 17–67, esp. 37–38. 1–2; Messling, Cranach, 133–34, no. 50; D. Landau and P. Parshall, © koninklijke brill nv, leiden, 2015 | doi 10.1163/9789004290112_017 172 Grebe Carpi invented in 1516; see Takahatake Fig. 10.1, p. 117).10 Surviving impressions in gold or gold/silver are on either parchment or a vibrantly prepared paper, with the addi­ tional block adding highlights to the black lines of the key block. All colour impressions printed after the second state have a tone block rather than a highlight block, and the design is mutually built up from the tone block and the key block (although the key block’s design is independent).11 The tone block models the figures and backgrounds, and the highlights are produced by the paper support, which shines through the areas not covered by ink. The Antwerp- born blockcutter and printer Jost de Negker is often cred­ ited with the innovation of cutting highlights from tone blocks, but his name appeared only on later states and he is not recorded in Augsburg before 1512.12 The history of the invention of the ‘fine art’ colour woodcut in Germany, as opposed to that for book illustra­ tions or the decorative arts, is interesting in several respects. Firstly, the initiative, at least in Augsburg, most probably did not come from an artist, but from Peutinger, who acted as a kind of impresario or producer. He and Burkgmair had both worked with the local printer Erhard Ratdolt, who had issued colour-printed woodcut book illustrations from the early 1480s and at least two ‘presen­ tation copies’ of Peutinger’s Romanae vetustatis fragmenta with partially gold-printed text on parchment in 1505 or slightly later.13 In Wittenberg, Cranach was strongly sup­ Figure. 15.1 Lucas Cranach, St George, 1507, colour woodcut ported by the Saxon princes, who promoted his innova­ from two blocks, 23.3 × 15.9 cm tion. It is telling that the correspondence does not specify London, British Museum, 1895,0122.264 © Trustees the artists by name; the humanist patrons communicated of the British Museum 10 See N. Takahatake, ‘Ugo da Carpi’s Diogenes’, this volume, 116. Scholars have struggled to categorise them as ‘chiaroscuro’ 11 E.g., Hans Burgkmair, St George, 1508, Cambridge, Fitzwilliam because their approach is very different from that used for Museum, P.3385-R. the so-called ‘false chiaroscuro’ or ‘German chiaroscuro’ 12 On the different printing techniques see T. Primeau, ‘The versions,9 that were reissued with tone blocks from 1508. Materials and Technology of Renaissance and Baroque Hand- (In this scheme, their lack of tonal contrast distinguishes Colored Prints’, in Dackerman, Painted Prints, 49–78, esp. 68–72. those with interdependent tone blocks in the ‘true chiar­ On De Negker’s dates of arrival in Augsburg and involvement with the ‘invention’, see Silver, Marketing Maximilian, 121; oscuro’ style imitating Italian wash drawings that Ugo da A. Klein, ‘Hans Wechtlin’, this volume, 103–15; E. Savage (­formerly Upper), ‘Printing Colour in the Age of Dürer: “Chiaroscuro” Woodcuts from the German-Speaking Lands’ (PhD diss., The Renaissance Print, 1470–1550 (New Haven, London: Yale University University of Cambridge, 2012), esp. Chapter 3: Reinventing the Press, 1994), 184–90. On the ‘invention’ in 1508, see A. Klein, ‘Hans Invention, 1: 60–80. Wechtlin’, this volume, 103; E. Savage, ‘Colour Printing in Relief’, this 13 Chicago, Newberry Library, Wing ZP 547.R11 and Vienna, volume, 27–28; E. Savage, ‘A Printer’s Art’, this volume, 97. On earlier Österreichische Nationalbibliothek, C.P.1.C.4; C. Wood, ‘Early colour prints (e.g., book illustrations) from the 1470s, see E. Savage, Archeology and the Book Trade: The Case of Peutinger’s Romanae Vivid Prints: Colour Printmaking and the Transformation of Visual Vetustatis Fragmentae (1505)’, Journal of Medieval and Early Information in Early Modern Germany, 1476–ca. 1600, esp. Chapter 2: Modern Studies 28.1 (1998): 83–118, esp. 105–06; on Augsburg, ‘Ratdolt and His Many Peers: Medieval Colour Printmaking, 1476– see G. Jecmen, ‘Color Printing and Tonal Etching: Innovative c.1510’ (forthcoming). On earlier text printed in gold, see below. Techniques in the Imperial City, 1487–1536’, in G. Jecmen and 9 See E. Savage, ‘Colour Printing in Relief’, this volume, 23–24; Savage, F. Spira, Imperial Augsburg: Renaissance Prints and Drawings, Vivid Prints. 1475–1540, exh. cat. (Farnham: Lund Humphries, 2012), 67–101..
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