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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}
Emblems in the Free Imperial City
Civic virtues were central to early modern Nürnberg’s visual culture. These essays explore Nürnberg as a location from which to study the intersection of art and power. The imperial city was awash in emblems, and they informed most aspects of everyday life. The intent of this volume is to focus new attention on the town hall emblems, while simultaneously expanding the purview of emblem studies, moving from strict iconological approaches to collaborations across methodologies and disciplines.
The Last Knight
Maximilian I (1459–1519) skillfully crafted a public persona and personal mythology that eventually earned him the romantic sobriquet “Last Knight.” From the time he became duke of Burgundy at the age of eighteen until his death, his passion for the trappings and ideals of knighthood served his worldly ambitions, imaginative strategies, and resolute efforts to forge a legacy. A master of self-promotion, he ordered exceptional armor from the most celebrated armorers in Europe, as well as heroic autobiographical epics and lavish designs for prints. Indeed, Maximilian’s quest to secure his memory and expand his sphere of influence, despite chronic shortages of funds that left many of his most ambitious projects unfinished, was indomitable. Coinciding with the 500th anniversary of Maximilian’s death, this catalogue is the first to examine the masterworks that he commissioned, revealing how art and armor contributed to the construction of Maximilian’s identity and aspirations, and to the politics of Europe at the dawn of the Renaissance. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
Dürer für Berlin. Eine Spurensuche im Kupferstichkabinett
Die Sammlung von Handzeichnungen und Druckgrafiken Albrecht Dürers im Berliner Kupferstichkabinett zählt zu den bedeutendsten weltweit. Anhand von 130 Arbeiten, darunter Meisterwerke wie die Apokalypse oder das Porträt von Dürers Mutter, wird nun die wechselvolle Geschichte der Sammlung selbst vorgestellt: von den Anfängen des Berliner Kabinetts 1831, über Gründerzeit und Nationalsozialismus bis zur Teilung der Bestände und ihrer Wiedervereinigung 1994. Der Katalog beleuchtet die kulturhistorische Bedeutung der Inszenierung Dürers für nationale Identitätsbildung und einen »Dürer-Skandal« 1871, der im Gründungsjahr des Deutschen Kaiserreiches eine der ersten akademischen Zuschr...
Der Wald in der Frühen Neuzeit zwischen Erfahrung und Erfindung
Waldbilder der Frühen Neuzeit sind häufig als Ausdruck eines neuen Naturempfindens und als Vorbote einer romantischen Naturästhetik verstanden worden. Doch der Wald der Vormoderne war auch ein hart umkämpfter Wirtschaftsraum: Er lieferte den für die vormoderne Gesellschaft zentralen Rohstoff Holz und diente zugleich auch als Standort frühindustriellen Gewerbes, als Viehweide und Jagdgrund. Dieser Band fragt nach dem Verhältnis zwischen der intensiven ökonomischen Nutzung des Waldes und den neuen Formen seiner Ästhetisierung. Gegen die traditionelle Vorstellung, dass ein funktionales und ein ästhetisches Verhältnis zum Naturraum einander ausschließen, wird hier der transdisziplin...
Drawing on Blue
This engaging book highlights the role of blue paper in the history of drawing. The rich history of blue paper, from the late fifteenth to the mid-eighteenth centuries, illuminates themes of transcultural interchange, international trade, and global reach. Through the examination of significant works, this volume investigates considerations of supply, use, economics, and innovative creative practice. How did the materials necessary for the production of blue paper reach artistic centers? How were these materials produced and used in various regions? Why did they appeal to artists, and how did they impact artistic practice and come to be associated with regional artistic identities? How did commercial, political, and cultural relations, and the mobility of artists, enable the dispersion of these materials and related techniques? Bringing together the work of the world’s leading specialists, this striking publication is destined to become essential reading on the history, materials, and techniques of drawings executed on blue paper.
Albrecht Dürer
An exploration of the life and works of German artist Albrecht Dürer and his self-obsession. The Italian Renaissance birthed the modern sense of self, and no artist from the period compares with Albrecht Dürer (1471–1528) in terms of the almost obsessive interest he displayed in his own life. Dürer’s works are filled with personal details from his day-to-day, his dreams, and his escapades. In this brief biography, David Ekserdjian explores Dürer’s life and times—his studies, travels, and influences—as well as his paintings, drawings, and prints. This book is essential reading for anyone interested in Renaissance or Northern European art.
Der Mensch und seine Vergänglichkeit
Das Thema »Alter« weist eine kaum überschaubare Fülle von Aspekten auf, sieht sich dementsprechend auch einem breiten Spektrum an Sichtweisen, Meinungen und Bewertungen gegenüber. Die Beschäftigung mit dem Alter ist bisher vor allem durch geriatrische und gerontologische Studien erfolgt. Das Alter im engeren Sinn war und ist weder Thema geschweige dann Gattung in der Kunstgeschichte. Die vorliegende Arbeit versucht diese Lücke zu schließen und betritt gleichzeitig Neuland, indem sie Altersdarstellungen in der bildenden Kunst von der Frühen Neuzeit bis zum Beginn der Klassischen Moderne untersucht. Die Alterswahrnehmung wird aus Sicht der Sozial-, Kultur- und der Medizingeschichte un...
