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Digitalisation: Re-Imaging the Real Beyond Notions of the Original and the Copy in Contemporary Printmaking: an Exegesis
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2017 Imperceptible Realities: An exhibition – and – Digitalisation: Re- imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis Sarah Robinson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Printmaking Commons Recommended Citation Robinson, S. (2017). Imperceptible Realities: An exhibition – and – Digitalisation: Re-imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis. https://ro.ecu.edu.au/theses/1981 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1981 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). -
Rembrandt, with a Complete List of His Etchings by Arthur Mayger Hind
The Project Gutenberg EBook of Rembrandt, With a Complete List of His Etchings by Arthur Mayger Hind This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Rembrandt, With a Complete List of His Etchings Author: Arthur Mayger Hind Release Date: February 5, 2010 [Ebook 31183] Language: English ***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS *** Rembrandt, With a Complete List of his Etchings Arthur M. Hind Fredk. A. Stokes Company 1912 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 Contents REMBRANDT . .1 BOOKS OF REFERENCE . .7 A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS . .9 Illustrations 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 . vii 1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354. 24 7, I. BEGGAR MAN AND BEGGAR WOMAN CON- VERSING. 1630. B. 164 . 24 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66 . 25 23, I. BALD-HEADED MAN (REMBRANDT'S FA- THER?) In profile r.; head only, bust added after- wards. 1630. B. 292. First state, the body being merely indicated in ink . 26 38, II. THE BLIND FIDDLER. 1631. B. 138 . 27 40. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133 . -
Empire of Prints. the Imperial City of Augsburg and the Printed Image In
OPUS Augsburg 2016 Peter Stoll Empire of Prints The Imperial City of Augsburg and the Printed Image in the 17th and 18th Centuries1 Detail from the frontispiece to David Langenmantel’s Historie des Regiments in des Heil. Röm. Reichs Stadt Augspurg (Augsburg 1734); engraving by Jakob Andreas Friedrich: Augsburg city hall; on top of the cartouche the pine cone from the city’s coat of arms; to the right the eagle signifying the Holy Roman Empire. 1 This text, in a Spanish translation, first served as one of the introductory essays in an exhibition catalogue dealing with Augsburg prints as modellos for baroque paintings in Quito, Ecuador (‘El imperio del grabado: La ciudad imperial de Augsburgo y la imagen impresa en los siglos XVII y XVIII’, in: Almerindo E. Ojeda, Alfonso Ortiz Crespo [ed.]: De Augsburgo a Quito: fuentes grabadas del arte jesuita quiteño del siglo XVIII, Quito 2015, pp. 17-66). For the present purpose, all passages of the text which only made sense in the context of the exhibition have been removed. Nonetheless, the 18th century bias of the text as well as the selection of artists which come under closer scrutiny still reflect the origins of the essay. As it was meant to address not only art historians, but also a general interest readership, it contains much basic information about print- making and the cultural history of Augsburg. OPUS Augsburg 2016 / Stoll, Empire of Prints 2 _______________________________________________________________________________________ A very particular type of factory When in 2001 Johan Roger -
Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012
Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Table of Contents Page Contents 2 Image List 3 Printmaking as Art 6 Glossary of Printing Terms 7 A Brief History of Printmaking Written by Jennifer Jensen 10 Self Portrait in a Velvet Cap , Rembrandt Written by Hailey Leek 11 Lesson Plan for Self Portrait in a Velvet Cap Written by Virginia Catherall 14 Kintai Bridge, Province of Suwo, Hokusai Written by Jennifer Jensen 16 Lesson Plan for Kintai Bridge, Province of Suwo Written by Jennifer Jensen 20 Lambing , Leighton Written by Kathryn Dennett 21 Lesson Plan for Lambing Written by Kathryn Dennett 32 Madame Louison, Rouault Written by Tiya Karaus 35 Lesson Plan for Madame Louison Written by Tiya Karaus 41 Prodigal Son , Benton Written by Joanna Walden 42 Lesson Plan for Prodigal Son Written by Joanna Walden 47 Flotsam, Gottlieb Written by Joanna Walden 48 Lesson Plan for Flotsam Written by Joanna Walden 55 Fourth of July Still Life, Flack Written by Susan Price 57 Lesson Plan for Fourth of July Still Life Written by Susan Price 59 Reverberations, Katz Written by Jennie LaFortune 60 Lesson Plan for Reverberations Written by Jennie LaFortune Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Image List 1. Rembrandt Harmensz van Rijn (1606-1669), Dutch Self Portrait in a Velvet Cap with Plume , 1638 Etching Gift of Merrilee and Howard Douglas Clark 1996.47.1 2. -
Rembrandt. the New Hollstein Dutch & Flemish Etchings, Engravings
BR.OCT.pg.proof.corrs_Layout 1 16/09/2014 11:55 Page 675 massive undertaking and the broadest and brief sketch to a finished piece but more often Books most detailed survey of the artist’s prints to merely adjusted the shading or removed date, comprising seven volumes (two text, excess background lines. It is clear that some three of plates, and two with plates of copies). of the reworkings of his early plates were The authors of the New Hollstein took full carried out by others in the studio, among advantage of the array of technological them the Leiden printmaker Jan van Vliet, advances available to present-day scholars – known for having reproduced some of the relative facility of travel and the ability to Rembrandt’s paintings in print. Several produce high-quality digital images of prints anonymous printmakers appear to have also and X-radiographs of watermarks. They had a hand in reworking light sketches Rembrandt. The New Hollstein looked at works together and apart, sharing produced by the master around 1630 and Dutch & Flemish Etchings, Engravings large digital images that revealed changes dif- 1631. The authors were able to perceive these and Woodcuts 1450–1700. By Erik ficult if not impossible to identify with the underlying sketches thanks to enlarged digital Hinterding and Jaco Rutgers. 7 vols. 2,210 naked eye or a magnifying glass. details; such prints, extensively re-etched pp. incl. numerous col. + b. & w. ills. Their methods and findings are described in by another hand, are identified by a ‘w’ for (Sound and Vision Publishers, Ouderkerk the introduction to the first volume. -
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 ... -
A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2004 A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process through his Experimental Attitude towards the medium. Bethany Ann Carter-Kneff East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art and Design Commons Recommended Citation Carter-Kneff, Bethany Ann, "A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process through his Experimental Attitude towards the medium." (2004). Electronic Theses and Dissertations. Paper 885. https://dc.etsu.edu/etd/885 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. A Discussion: Rembrandt’s Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium _______________ A thesis presented to the faculty of the Department of Art and Design East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in Printmaking _______________ by Bethany Ann Carter-Kneff May 2004 _______________ Ralph Slatton, Chair Peter Pawlowicz Mark Russell Keywords: Rembrandt, Printmaking ABSTRACT A Discussion: Rembrandt’s Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium by Bethany Ann Carter-Kneff Rembrandt’s influence on the medium of printmaking can only be explained through his methodology in the production of his images. -
Short Notice the Empress and the Black Art: an Early Mezzotint by Eleonora Gonzaga (1630-1686)*
the rijks the empress and the black art: an early mezzotintmuseum by eleonora gonzaga (1630-1686) bulletin Short notice The Empress and The Black Art: An Early Mezzotint by Eleonora Gonzaga (1630-1686)* • joyce zelen • he Print Room of the Rijks- < Fig. 1 Empress Eleonora and the Arts T museum in Amsterdam has in eleonora Eleonora Maddalena Gonzaga, daughter its collection a small mezzotint of a gonzaga, of Carlo ii Gonzaga, Duke of Mayenne, soldier wearing a decorative helmet Bust of a Roman and his wife Maria Gonzaga, was born Soldier, 1660. (fig. 1). The subject of this print is far on 18 November 1630, bearing the Mezzotint, from unique and the quality of the 144 x 113 mm. title Princess of Mantua, Nevers and 2 execution is by no means exceptional. Amsterdam, Rethel. As a young princess, Eleonora Nonetheless, this particular little print Rijksmuseum, inv. no. received an excellent education. She was is worthy of mention – solely because rp-p-1892-a-16745. fluent in several languages and well- of the signature and date in the upper versed in literature, music and art. left corner: Leonora Imperatrix fecit She was also a good dancer and a Ao. 1660. The year tells us that we are poet, and she enjoyed embroidery. dealing with an extremely early mezzo - On 30 April 1651 she married the tint. The technique was invented in Holy Roman Emperor Ferdinand iii the sixteen-forties and did not become (1608-1657), who was twenty years popular on a much wider scale until her senior, and took up residence in some decades later. -
What Is Mezzotint
WHAT IS A MEZZOTINT PRINT? © CAROL WAX, 2014 Mezzotint is a tonal form of engraving that was invented in 1642 by Ludwig von Siegen, a German soldier on leave in Amsterdam. The medium's ability to render subtle tonal gradations and replicate brushstrokes made it ideally suited for translating paintings, particularly portraits, into prints. Once introduced into England by Prince Rupert of the Rhine, mezzotint quickly developed into a vital industry for creating and disseminating reproductive prints. Although little known today, mezzotint prints had a profound impact on the course of Western art, especially Colonial American art. The medium fell into obscurity after the invention of photography made the need to copy images manually obsolete. Today, mezzotint engraving is experiencing a virtual renaissance as an art form for original expression. As opposed to burin engraving, in which black lines are incised on a white background, mezzotint begins with a black background from which tones are deducted. It’s similar to the method of drawing in which a white sheet of paper is blackened with charcoal and the image is “drawn” with an eraser. In mezzotint, a copper plate is substituted for the paper, and the black background is created using a tool called a rocker. burnisher scraper plate rocker The rocker has a curved serrated blade that is rocked back and forth over the plate surface. As the blade’s teeth prick the copper they plow up tiny burrs. When printed, these burrs will hold ink. Systematically rocking over the entire plate surface in many directions produces a field of burrs that will hold ink all over and print as a solid black tone. -
Rembrandt's Three Crosses
Mildred Lane Kemper Art Museum Spotlight Series: October 2008 By Paul Crenshaw, assistant curator for prints and drawings and senior lecturer in art history One of the most dynamic prints ever made, Rembrandt van Rijn’s The Three Crosses (1653) displays technical innovation and engagement with the human subjectivity of Rembrandt van Rijn The Three Crosses, 1653 Drypoint (4th state), 15 1/4 x 17 13/16" Christ’s death. A torrential downpour of lines Gift of Dr. Malvern B. Clopton, 1930 envelopes dozens of figures on the hill of Rembrandt van Rijn Golgotha, where Christ is pictured crucified The Three Crosses, 1660-61 Etching and drypoint (4th state)tate) amidst the two thieves. Even though it is an 15 1/4 x 17 13/16 " Gift of Dr. Malvern B. Clopton, 1930 inherently tragic subject commonly portrayed in Christian tradition, never before had it been staged with such sweeping emotional force. Rembrandt was inspired by the text of the Gospels (Matthew 27:45–54) proclaiming that a darkness covered the land from noon to three o’clock, when Jesus cried out with a loud voice, “Elí, Elí, lemá sabachtháni?” (“My God, my God, why have you forsaken me?”). When Jesus died, the passage continues, the earth shook, rocks split, tombs opened, and the bodies of many sleeping saints arose. To achieve these supernatural effects, Rembrandt employed the kind of bold technical ingenuity that helped define him as one of the most significant printmakers of his age. The Kemper Art Museum impression is a fine example of the fourth state of the print, which gives a dramatically different tenor and narrative focus to his subject than earlier states did. -
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. -
Chats on Old Prints
x<^ Irerm. Q!^ndTQb)s CHATS ON OLD PRINTS THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES BOOKS FOR COLLECTORS tVith Frontispieces and many Illustrations. CHATS ON ENQLISH CHINA. By ARTHUR HAYDEN'. CHATS ON OLD FURNITURE. By Arthur Havden. CHATS ON OLD PRINTS. (How to collect and valuo Old Engravlnfs.) By Arthur Hayden. CHATS ON COSTUME. By G. Wooluscrokt Rhead. CHATS ON OLD LACE AND NEEDLEWORK. By E. L. Lowes. CHATS ON ORIENTAL CHINA. By J. F. Blacker. CHATS ON OLD MINIATURES. By J. J. Foster, F.S.A. CHATS ON ENQLISH EARTHENWARE. (Companion volune to " Ctaat« on EnglUh Ctalaa.") By Arthur Hayden. CHATS ON AUTOGRAPHS. By A. M. Broadley. CHATS ON PEWTER. By H. J. L. ]. MASSfe, MA. CHATS ON POSTAGE STAMPS. By Fred. J. Melville. CHATS ON OLD JEWELLERY AND TRINKETS. By MacIver Percival. CHATS ON COTTAQE AND FARMHOUSE FURNITURB, (Companion volume to " Chat* on Old Furniture.") By Arthur Hayuen. CHATS ON OLD COINS. By Fred. W. Bukgess. CHATS ON OLD COPPER AND BRASS. By Fred. W. Burgkss. CHATS ON HOUSEHOLD CURIOS. By Fred. W. Burgess. CHATS ON OLD SILVER. By Arthur HAYnE.\. CHATS ON JAPANESE PRINTS. By Arthur Davison Ficke. CHATS ON MILITARY CURI05. By Stakley C. Johnson. CHATS ON OLD CLOCKS AND WATCHES. By Arthur Hatden. CHAT5 ON ROYAL COPENHAGEN PORCELAIN. By Arthur Hayden. CHATS ON OLD SHEFFIELD PLATE. (Companion volume to "Chat* on Old Silver.**) By Arthur Hayden. CHATS ON OLD ENGLISH DRAWINGS. By Randall Davies. CHATS ON WEDGWOOD WARE. \ By Hakrt Barnard. BYB PATHS OF CURIO COLLECTING. By Arthur Hatdbm. With Frontitpiece and 72 Pull pafe Illustrations.