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Click Here March 2015 (PDF) PQ-COVER 2015_PQ-COVER MASTER-2007 18/11/2014 11:15 Page 1 P Q PRINT QUARTERLY MARCH 2015 Vol. XXXII No. 1 March 2015 VOLUME XXXII NUMBER 1 PQ.MAR15.IFC and IBC_Layout 1 02/02/2015 14:07 Page 1 PQ.MAR2015_Layout 1 03/02/2015 16:25 Page 1 PRint QuaRtERly VolumE XXXii numBER 1 maRch 2015 contents Jan Ziarnko’s anamorphic Print A Pair of Lovers Embracing 3 aDa PalKa ‘Enlightening the ignorant’ 14 the Early years of the international society maRtin hoPKinson shorter notices an Engraving by Giulio Bonasone after a Drawing by Giulio Romano 27 Paul JoanniDEs Prince albert’s Reprint of agostino Veneziano’s The Witch’s Procession 32 chRistianE wiEBEl notes 40 catalogue and Book Reviews images of islam 78 london maps and maps magnificent 94 susan DacKERman RalPh hyDE Federico Barocci 81 the Dissemination of Popular Prints 98 √RhoDa EitEl-PoRtER antony GRiFFiths illustrated sacred Books in italy, 1550–1700 83 Romanticism and Graphic satire 101 ilaRia anDREoli amanDa lahiKainEn the new hollstein Rembrandt 88 Richard hamilton 104 maRtin Royalton-Kisch Paul colDwEll Ellsworth Kelly 107 Roni FEinstEin PQ.MAR2015_Layout 1 02/02/2015 14:14 Page 2 Editor Rhoda Eitel-Porter administrator sub-Editor chris Riches Virginia myers Editorial Board clifford ackley Pat Gilmour Jean michel massing David alexander antony Griffiths mark mcDonald Judith Brodie craig hartley nadine orenstein michael Bury martin hopkinson Peter Parshall Paul coldwell Ralph hyde maxime Préaud marzia Faietti David Kiehl christian Rümelin Richard Field Fritz Koreny michael snodin celina Fox David landau Ellis tinios David Freedberg Ger luijten henri Zerner Giorgio marini members of Print Quarterly Publications Registered charity no. 1007928 chairman antony Griffiths* David alexander* samuel Josefowitz nicolas Barker* michael Kauffmann David Bindman* David landau* Graham Brown Jane martineau* Fabio castelli marylin Perry Douglas Druick tom Rassieur Rhoda Eitel-Porter* Pierre Rosenberg Jan Piet Filedt Kok alan stone David Freedberg Dave williams George Goldner henri Zerner *Directors Between november 1984 and november 1987 Print Quarterly was published in association with the J. Paul Getty trust. Donors to the Print Quarterly appeal anonymous Donors Furio de Denaro alberto milano the artemis Group Pat Gilmour montreal Print collectors’ society Frank auerbach hill-stone Felix Pollak David and Frances Bindman James and clare Kirkman the arcana Foundation J. Bolten leon Kossoff Ruth and Jacob Kainen Fondation custodia iFPDa Reba and Dave williams © Print Quarterly Publications. all rights reserved. issn 0265–8305. Printed by henry ling limited, the Dorset Press, Dorchester, Dorset. Editorial office: 10 chester Row, london sw1w 9Jh. tel. +44 (0)20 7259 0952, Fax. +44 (0)20 7259 0959, email: [email protected] For subscriptions and advertising rates please contact the Editorial office at the above address cover: Detail from The Printmaker’s Workshop attributed to hans collaert after Jan van der straet, called stradanus PQ.MAR2015_Layout 1 02/02/2015 14:14 Page 3 Jan Ziarnko’s anamorphic Print A Pair of Lovers Embracing ada Palka Jan Ziarnko’s (c. 1575–c. 1630) rare print A Pair of ing The Ambassadors, of 1533 (london, national Lovers Embracing, which is in the shape of a segment of Gallery), where, when seen from the side, a skull ap- a circle, seems to exist in only a single, unique impres- pears. the second type is called a reflective anamor- sion in the czartoryski collection in cracow (fig. 1). its phosis, which is an image that needs to be reflected in unusual shape derives from the fact that it is an a special mirror, often a cylindrical or conical reflective anamorphosis – a deliberately distorted image, which surface, in order to realign correctly. in his 1638 treatise when viewed from a particular angle returns to its nat- La Perspective Curieuse, Jean-François niceron (1613–46) ural proportions, thus revealing a previously unrecog- describes how to create a cylindrical mirror anamor- nized image. there are three kinds of anamorphoses. phosis with an engraved image of St Francis of Paola.1 For the first, the perspective anamorphosis, one need the last group, of which Ziarnko’s print seems to be only take a suitable point of observation for the image the earliest example, is the folding anamorphosis. often to appear. this is the case of the anamorphic works by wrongly classified as a perspective anamorphosis, the Erhard schön (1490–1542) or of hans holbein’s paint- folding anamorphosis requires that the surface of the Research for this article was supported by the Polish national sci- ing her with a translation of Ziarnko’s treatise. ence centre grant no DEc-2012/07/n/hs2/00679. the author 1. J.-F. niceron, La Perspective Curieuse, Paris, 1638; see J. Baltrusaitis, would like to thank małgorzata Biłozór-salwa for kindly provid- Anamorphic Art, cambridge, 1977, pp. 148–49. 1. Jan Ziarnko, A Pair of Lovers Embracing, 1608, etching in the shape of a segment of a circle, radius 161 mm (cracow, czarto- ryski collection). PRint QuaRtERly, XXXii, 2015, 1 PQ.MAR2015_Layout 1 02/02/2015 14:14 Page 4 4 Jan ZiaRnKo’s anamoRPhic PRint A PAIR OF LOVERS EMbRACInG 2. two views of Fig. 1 rolled into a cone and viewed from the side. work be wrapped or folded into a three-dimensional events, was skilled in perspective and topography and object in order for the viewed image to regain its cor- achieved coherent compositions even when working rect proportions. from the works of his contemporaries. Born in about 1575 in lviv, Poland, to a family of signed I. Ziarko Polonus fecit and dated 1608 at lower German extraction, Jan Ziarnko – also known as Jean, left beneath the hooves of the horse pulling the chariot, le Grain, Kern or Grano – is considered one of the the anamorphosis conceals a pair of naked lovers amid most talented Polish draughtsmen. in 1595 he was still more legible allegorical amorous scenes. only after recorded in lviv, his first known engraving is from 1596, rolling the print into a cone and viewing it from above, and by 1598 he was in italy. he resided in Paris at least does the image of the Lovers reveal itself, here illustrated from 1605 to 1629, which is also where he created al- for the first time (figs. 2 and 3). Ziarnko’s print was first most all the prints and book illustrations attributed to mentioned by antoni Potocki in 1911; in an article of him, including the Pair of Lovers Embracing here dis- 1938 stanisława sawicka describes the composition and cussed. about 35 individual prints and three extensive the inscriptions, and most recently małgorzata Biłozór- print series by Ziarnko are known today, although there salwa noted that the image of the lovers derives from are about a hundred if one includes the prints made one of the Modi, known today as Ovid and Corinna.3 the after his drawings.2 he illustrated historical and current Modi (italian for ‘ways’) were a series of engravings by 2. J. telibska, Grafika XVII wieku w Polsce, Funkcje, o´srodki, arty´sci, dzieła, a cut-out circle intended for putting into a cone. a cardinal scene warsaw, 2011, p. 45. is a “sujet libre”’; s. sawicka, ‘Jan Ziarnko, Peintre-Graveur 3. a. Potocki, Katalog dzieł Jana Ziarnki, Malarza i Rytownika Polskiego, Polonais et son activite a Paris’, in La France et la Pologne dans leurs · z XVI i XVII w. z Zyciorysem Artysty, cracow, 1911, no. 3; s. saw- relations artistiques, i, 1938, no. 2–3, p. 153, no. 2; m. Biłozór-salwa, icka, ‘Jan Ziarnko. a Polish Painter-Etcher of the First Quarter ‘Jana Ziarnki emigracja artystyczna’, in a. Pie´nkos and a. Ros- of the 17th century’, The Print Collector’s Quarterly, XXiii, 1936, no. ales-Rodriguez, Francusko-polskie relacje artystyczne w epoce nowoz·ytnej, 4, pp. 294–95 ‘finally, a rather singular engraving in the form of warsaw, 2010, p. 27. PQ.MAR2015_Layout 1 02/02/2015 14:14 Page 5 Jan ZiaRnKo’s anamoRPhic PRint A PAIR OF LOVERS EMbRACInG 5 3. Fig. 1 rolled into a cone and viewed from above. marcantonio Raimondi published in 1524 depicting var- rache. current scholarship doubts the attribution to ious explicit sexual positions. although one full set of im- agostino carracci of the images used by coigny (fig. 4). pressions must have survived long enough to be copied, the quality of Ziarnko’s engraving suggests that he was all impressions, including those from later printings, were working from an engraving by Raimondi rather than the at some point destroyed or drastically cut down because cruder 1550 woodcut series. Ziarnko’s print is a kind of of their lewd subject matter. today these images are best collage. it has hitherto gone unnoticed that several of known from the set of engravings published in Paris in the vignettes and the lengthy latin inscription at the cen- 1798 by Jacques Joseph coigny as L’Arétin d’Augustin Car- tre and extending along its outer circumference are taken PQ.MAR2015_Layout 1 02/02/2015 14:14 Page 6 6 Jan ZiaRnKo’s anamoRPhic PRint A PAIR OF LOVERS EMbRACInG from the engraving The Power of Venus executed in 1587 by matthäus Greuter (1564–1638) after a drawing by wendel Dietterlin (fig. 5).4 A Pair of Lovers Embracing is the only known anamor- phosis by Ziarnko, who also published a book about perspective, nine years later, in 1619, the Perspectivae Stereo Graphicae Pars Specialis (three-dimensional Picto- rial Perspective, special Part).5 one of the earliest trea- tises on perspective and anamorphosis, the booklet includes a brief description of how to construct a con- ical folding anamorphic deformation and it seems probable that the technique, or a close variant of it, was the one used to make A Pair of Lovers Embracing.6 the artist may well have been working on the print and the manuscript of the treatise concurrently.
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