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The Renaissance of Etching
The Renaissance of Etching is a groundbreaking study of the origins of the etched print. Initially used as a method for decorating armor, etching was reimagined as a printmaking technique at the end of the fifteenth century in Germany and spread rapidly across Europe. Unlike engraving and woodcut, which required great skill and years of training, the comparative ease of etching allowed a wide variety of artists to exploit the expanding market for prints. The early pioneers of the medium include some of the greatest artists of the Renaissance, such as Albrecht Dürer, Parmigianino, and Pieter Bruegel the Elder, who paved the way for future printmakers like Rembrandt, Goya, and many others in their wake. Remarkably, contemporary artists still use etching in much the same way as their predecessors did five hundred years ago. Richly illustrated and including a wealth of new information, The Renaissance of Etching explores how artists in Germany, the Netherlands, Italy, and France developed the new medium of etching, and how it became one of the most versatile and enduring forms of printmaking. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
The Renaissance Engravers
This ambitious work allows the reader to discover the art of engraving in Europe from the 15th to the 16th century. The engravings of the Renaissance masters are considered models of artistic perfection, often studied and frequently copied.
Painted Prints
Betr. u.a. Hans Holbeins Totentanz in den "Simulachres & historiées faces de la mort", Lyon 1538 (S. 176-179).
The Renaissance Engravers
The print-makers of the Renaissance were of particular interest to 18th- and early 19th-century Russian collectors. This book provides the best examples from the collection in the Hermitage Museum in St. Petersburg. There is an overview of the work of German, Flemish, French, and Italian Masters such as Albrecht Durer, Hans Leonhard, Schaufelein, Lucas Cranach, Hans Holbein the Younger, Pieter von der Hayden, and Baccio Baldini, as well as the many delightful engravings produced by anonymous craftsmen. The first half of the book is devoted to a detailed description and analysis of the prints, including whatever details are available of their provenance. There are brief his-tories of the engravers and, where applicable, the paintings from which the engravings were made. The second half of the book contains plates of the engravings and woodcuts themselves, all reproduced in their original colours.
Raphael, Dürer, and Marcantonio Raimondi
In early sixteenth-century Italy, works of art came to be understood as unique objects made by individuals of genius, giving rise to a new sense of the artist as the author of his images. At the same time, the practice of engraving, a medium that produced multiple printed images via collaborative processes, rapidly developed. In this book, Lisa Pon examines how images passed between artists and considers how printing techniques affected the authorship of images. Pon focuses on the encounters between the engraver Marcantonio Raimondi and three key artists: Albrecht Dürer, Raphael, and Giorgio Vasari. She reevaluates their work in light of the tensions between possessive authorship and practical collaboration in the visual arts.
Marcantonio Raimondi, Raphael and the Image Multiplied
An in-depth collection of essays on the leading engraver and printmaker of the Italian Renaissance, accompanying the first major exhibition of his work in over three decades, at the Whitworth Gallery, Manchester.
Albrecht Dürer and His Legacy
"Albrecht Durer (1471-1528) was in a sense the first truly international artist. The collection of his work in the British Museum is one of the best in the world. This book shows how his sophisticated development of the techniques of woodcut and engraving introduced the idea of multiple images into fine art and thereby altered the history of printmaking. The chronology of his career is traced from his early work in the medieval tradition of Martin Schongauer, through the experience he acquired while living in Italy, to his major print projects for the Holy Roman Emperor, Maximilian I." "The book also examines Durer's influence at later periods, from the obsessive interest in his work by coll...
