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Production and Analysis of Ugo Da Carpi's David Slaying Goliath

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Production and Analysis of Ugo Da Carpi's David Slaying Goliath The Maker's Knowledge: Production and Analysis of Ugo da Carpi's David Slaying Goliath Item Type text; Electronic Thesis Authors Church, Sophie Oriana Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 01:10:44 Link to Item http://hdl.handle.net/10150/632561 THE MAKER’S KNOWLEDGE: PRODUCTION AND ANALYSIS OF UGO DA CARPI’S DAVID SLAYING GOLIATH by Sophie Church ____________________________ Copyright © Sophie Church 2019 A Thesis Submitted to the Faculty of the DEPARTMENT OF ART HISTORY In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 2 ACKNOWLEDGEMENTS I would first like to thank my thesis advisor and committee chair, Dr. Pia Cuneo of the Department of Art History at the University of Arizona. She consistently steered me in the right direction every time I got lost in my research. Her unwavering support and guidance made this thesis possible. I would also like to acknowledge Dr. Sarah Moore of the Department of Art History and Dr. Nancy Odegaard of the Department of Anthropology and the Department of Materials Science at the University of Arizona as my second and third readers of this thesis. I am grateful to both their valuable insights and comments on this thesis. I would also like to thank my numerous colleagues within the Art Conservation community: Nancy Odegaard, Gina Watkinson, Dana Hemmenway, Dana Tepper, and Linda Stiber Morenus, for their continuous support and input throughout my research and hands-on examination of the print from the University of Arizona Museum of Art’s collection. Furthermore, I am very grateful to the UAMA for their cooperation, and to Registrar Kristen Schmidt for making this research possible. Without Registrar Schmidt’s help I would not have been able to analyze and test the print in person. These analyses later proved integral to my thesis research. Additionally, a huge thank you to the Arizona State Museum and the Center for Creative Photography for allowing me to utilize their facilities and equipment in the examination of the UAMA’s print. Finally, I must express my profound gratitude to Professor Cerese Vaden for introducing me to Intaglio printmaking and supporting me throughout my experimentation with etching and engraving techniques. I truly enjoyed returning to studio art and creating my own prints. 3 DEDICATION For my Mother, Nicole N. Davis, who has always loved my art. 4 CONTENTS LIST OF FIGURES………………………………………………………………………….........7 ABSTRACT……………………………………………………………………………………...29 INTRODUCTION……………………….………………………………………………………30 Literature Review………………………………………………………………………...31 THE BIBLE AND THE LOGGIA…………………………………….………………………...34 PRINTMAKING AS A COLLABORATIVE PROCESS……………………………………….36 PRINTMAKING HISTORY…………………………..………………………………………...37 The Chiaroscuro Woodcut……………………………………………………………….39 Printmaking States of Ugo da Carpi’s David Slaying Goliath ..…………………….......40 RELIEF PRINTMAKING……………………………………………………………………….41 The Chiaroscuro Woodcut Process………………………………………………………42 Editing Woodblocks……………………………………………………………………...43 Single Woodblock Reductive Method…………………………………………………...44 PRINTMAKING MATERIALS: CHIAROSCURO WOODCUT…………….………………..45 Woodblocks……………………………………………………………………………...45 Ink Processing ……………………………………………………………………………47 Analysis of the Inks Present in the University of Arizona Museum of Art’s Print……...49 Ink Viscosity and Printing Pressure……………………………………………………...52 Printmaking Ink Today…………………………………………………………………..55 Paper Processing…………………………………………………………………………55 Physical Evidence Observed……………………………………………………………..56 5 Quality and Sale of Paper for Printmaking………………………………………………58 ART HISTORY, ART CONSERVATION, AND STUDIO ART……………………………....61 APPENDICES……………………...……………………………………………………………63 List of Ugo da Carpi’s David Slaying Goliath in other collections……………………...63 My Experience: Intaglio Printmaking……………………………………………………63 X-ray Fluorescence Spectrum Results: Highlight Ink Layer of UAMA David Slaying Goliath……………………………………………………………………………………66 BIBLIOGRAPHY………………………………………………………………………………..67 6 LIST OF FIGURES Figure 1: Verso, David Slaying Goliath, after Ugo da Carpi, after Raphael, Sixteenth century, Chiaroscuro woodcut, Fourth state, University of Arizona Museum of Art, Tucson, Arizona. Pages 1 and 30. Figure 2: Recto, David Slaying Goliath, after Ugo da Carpi, after Raphael, Sixteenth century, Chiaroscuro woodcut, Fourth state, University of Arizona Museum of Art, Tucson, Arizona. Pages 1 and 30. 7 Figure 3: David Slaying Goliath, Raphael, 1519, Fresco painting, Loggia, Vatican, Rome, Italy Page 5. Figures 4 and 5: The Loggia, Vatican, Rome, Italy. Page 5. 8 Figure 6: David Beheading Goliath, Marcantonio Raimondi, after Raphael, 1520-25, Engraving, Minneapolis Institute of Art, Minneapolis, MN. Pages 7 and 36. Figure 7: Detail, David and Goliath, Ugo da Carpi, after Raphael, 1520-27, Chiaroscuro woodcut, Third state, The Metropolitan Museum of Art, New York, NY. Page 7. 9 Figure 8: The Massacre of the Innocents, Ugo da Carpi, after Raphael, 1520-27, Chiaroscuro woodcut, The Metropolitan Museum of Art, New York, NY. Page 8. Figure 9: The Massacre of the Innocents, Marcantonio Raimondi, after Raphael, 1512-13, Engraving, The Metropolitan Museum of Art, New York, NY. Page 8. 10 Figure 10: Detail, David Slaying Goliath, after Ugo da Carpi, after Raphael, Sixteenth century, Chiaroscuro woodcut, Fourth state, University of Arizona Museum of Art, Tucson, Arizona. Pages 11 and 15. Figure 11 (Left): Detail, David Slaying Goliath, after Ugo da Carpi, after Raphael, Sixteenth century, Chiaroscuro woodcut, Fourth State, University of Arizona Museum of Art, Tucson, AZ. Pages 11, 15, and 25. Figure 12 (Above Right): Detail, David Slaying Goliath, Ugo da Carpi, after Raphael, 1520-27, Chiaroscuro Woodcut, Third State, Metropolitan Museum of Art, New York, NY. Pages 11, 15, and 25. 11 Figure 13: David Kills Goliath, Ugo da Carpi, after Raphael, 1518-1520, Chiaroscuro woodcut, First state, Royal Collection Trust, England. Page 11. Figure 14: David Cutting off the Head of Goliath, Ugo da Carpi, after Raphael, 1520-1529, Chiaroscuro woodcut, Second state, Ashmolean Museum of Art and Archaeology, University of Oxford, England. Page 11. 12 Figure 15: David and Goliath, Ugo da Carpi, after Raphael, 1520-27, Chiaroscuro woodcut, Third state, The Metropolitan Museum of Art, New York, NY. Page 11. Figure 16: David onthoofdt Goliat, after Ugo da Carpi, after Raphael, 1502-1532, Chiaroscuro woodcut, Fourth state, Rijksmuseum, Amsterdam, Netherlands. Page 12. 13 Figure 17: Woodcut relief printmaking tools. Page 17. Figure 18: Portable X-ray Fluorescence at the Arizona State Museum Conservation Lab, analysis of David Slaying Goliath, University of Arizona Museum of Art, Tucson, AZ. Page 22. 14 Figure 19: Portable X-ray Fluorescence at the Arizona State Museum Conservation Lab, analysis of David Slaying Goliath, University of Arizona Museum of Art, Tucson, AZ. Page 22. Figure 20: X-radiography Cabinet at the Arizona State Museum Conservation Lab, analysis of David Slaying Goliath, University of Arizona Museum of Art, Tucson, AZ. Page 23. 15 Figure 21: X-ray image from analysis of David Slaying Goliath in the Arizona State Museum Conservation Lab, Tucson, AZ. Page 23. Figure 22: Detail, Recto, David Slaying Goliath, after Ugo da Carpi, after Raphael, Sixteenth century, Chiaroscuro woodcut, Fourth state, University of Arizona Museum of Art, Tucson, Arizona. Page 23. 16 Figures 23-27: Photomicrograph, David Slaying Goliath, after Ugo da Carpi, after Raphael, Sixteenth century, Chiaroscuro woodcut, Fourth state, University of Arizona Museum of Art, Tucson, AZ. Page 23. 17 Figure 28: Detail, David Slaying Goliath, after Ugo da Carpi, after Raphael, Sixteenth century, Chiaroscuro woodcut, Fourth state, University of Arizona Museum of Art, Tucson, AZ. Page 25. Figure 29: Raking Light, David Slaying Goliath, after Ugo da Carpi, after Raphael, Sixteenth century, Chiaroscuro woodcut, Fourth state, University of Arizona Museum of Art, Tucson, AZ. Page 25. 18 Figure 30 (Left): Print depicting a sixteenth-century wooden platen press. Page 25. Figure 31 (Above right): Self Portrait, Sophie Church, woodcut, 2016. Page 25. Figure 32: Transmitted Light, David Slaying Goliath, after Ugo da Carpi, after Raphael, Sixteenth century, Chiaroscuro woodcut, Fourth state, University of Arizona Museum of Art, Tucson, AZ. Page 27. 19 Figure 33 and 34: Hikers, Sophie Church, woodcut, 2016. Page 30. Figure 35: After Raphael’s David Slaying Goliath, Sophie Church, Drypoint etching, 2019. Page 31. 20 Figure 36: Transmitted Light, After Raphael’s David Slaying Goliath, Sophie Church, Drypoint etching, 2019. Page 31. Figure 37: Drypoint etching, Plexi-glass plate, Sophie Church, 2019. Page 34. 21 Figure 38: Drypoint etching, Over wiping, regular wiping, under wiping, Sophie Church, 2019. Page 34. Figure 39: Using the roller press, drypoint etching, Sophie Church, 2019. Page 35. 22 Figure 40: Etching, zinc plate with hard ground design, Sophie Church, 2019. Page 35. Figure 41 (Left): Acid bath equipment in the UA School of Art Print Studio, 2019. Page 35. Figure 42 (Right): My etching plate in the acid bath, Sophie Church, 2019. Page 35. 23 Figure 43: Zinc
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