The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts, 1450-1700: pt. 1-2. Frans Floris PDF Download
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Author: Ger Luijten
Publisher:
ISBN:
Category : Engraving, Dutch
Languages : en
Pages :
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Author: Ger Luijten
Publisher:
ISBN:
Category : Engraving, Dutch
Languages : en
Pages :
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Author: Carel van Mander
Publisher:
ISBN:
Category : Engraving, Dutch
Languages : en
Pages : 344
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Author: F. W. H. Hollstein
Publisher:
ISBN:
Category : Engraving
Languages : en
Pages : 232
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Author: ToddM. Richardson
Publisher: Routledge
ISBN: 1351554026
Category : Art
Languages : en
Pages : 269
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Pieter Bruegel the Elder: Art Discourse in the Sixteenth-Century Netherlands examines the later images by Bruegel in the context of two contemporary discourses - art theoretical and convivial. The first concerns the purely visual interactions between artists and artistic practices that unfold in pictures, which often transgress the categorical boundaries modern scholars place on their work, such as sacred and profane, antique and modern, and Italian and Northern. In this context, the images themselves - those of Bruegel, his contemporaries and predecessors - make up the primary source material from which the author argues. The second deals with the dialogue that occurred between viewers in front of pictures and the way in which pictorial strategies facilitated their visual experience and challenged their analytical capabilities. In this regard, the author expands his base of primary sources to include convivial texts, dialogues and correspondences, and texts by rhetoricians and Northern humanists addressing art theoretical issues. Challenging the conventional wisdom that the artist eschewed Italianate influences, this study demonstrates how Bruegel's later peasant paintings reveal a complicated artistic dialogue in which visual concepts and pictorial motifs from Italian and classical ideas are employed for a subject that was increasingly recognized in the sixteenth century as a specifically Northern phenomenon. Similar to the Dutch rhetorician societies and French Pl?de poets who cultivated the vernacular language using classical Latin, the function of this interpictorial discourse, the author argues, was not simply to imitate international trends, a common practice during the period, but to use it to cultivate his own visual vernacular language. Although the focus is primarily on Bruegel's later work, the author's conclusions are applied to sketch a broader understanding of both the artist himself and the vibrant artistic dialogue occurring in the Netherl
Author: F. W. H. Hollstein
Publisher:
ISBN:
Category : Engraving
Languages : en
Pages : 264
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Author: Arthur J. DiFuria
Publisher: BRILL
ISBN: 9004462066
Category : Art
Languages : en
Pages : 884
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This volume examines how and why many early modern pictures operate in an ekphrastic mode.
Author: F. W. H. Hollstein
Publisher:
ISBN:
Category : Engraving, Dutch
Languages : en
Pages : 264
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Book Description
Author: F. W. H. Hollstein
Publisher:
ISBN:
Category : Engraving, Dutch
Languages : en
Pages : 232
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Book Description
Author: F. W. H. Hollstein
Publisher:
ISBN:
Category : Engraving, Dutch
Languages : en
Pages : 152
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Book Description
Author: EdwardH. Wouk
Publisher: Routledge
ISBN: 1351553216
Category : Art
Languages : en
Pages : 297
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Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original 'meanings' may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna's 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium - a painting, sculpture, or drawing - to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.
