Sculpture in Print, 1480-1600

Erscheinungsjahr 2021
ISBN: 978-90-04-42150-9
Verlag: Brill

Buch, Englisch, Band 52, 392 Seiten, Format (B × H): 163 mm x 243 mm, Gewicht: 889 g

Reihe: Brill’s Studies on Art, Art History, and Intellectual History

Sculpture in Print, 1480–1600 is the first in-depth study dedicated to the intriguing history of the translation of statues and reliefs into print. The multitude of engravings, woodcuts and etchings show a highly creative handling of the ‘original’ antique or contemporary work of art. The essays in this volume reflect these various approaches to and challenges of translating sculpture in print. They analyze foremost the beginnings of the phenomenon in Italian and Northern Renaissance prints and they highlight by means of case studies amongst many other topics the interrelated terminology between sculpture and print, lost models in print, the inventive handling of fragments, as well as the transformation of statues into narrative contexts.

Autoren/Hrsg.

Bloemacher, Anne

Richter, Mandy

Faietti, Marzia

Fachgebiete

• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Bildhauerei, Plastik, Denkmäler
• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Malerei: Gemälde
• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: Renaissance, Manierismus

Inhaltsverzeichnis

List of Figures

Notes on Contributors

“Quanto in virtù d’una ingegnosa mano / la fermezza de’marmi ai fogli cede”: The Art of Translating Sculpture into Print. An Introduction

Anne Bloemacher, Mandy Richter and Marzia Faietti

Part 1: Antique Sculpture

1 Aes Incidimus: Early Modern Engraving as Sculpture

Madeleine C. Viljoen

2 Transferring Ancient Sculptures into Prints. Marcantonio Raimondi’s “Quos Ego”: Its Prototypes and Afterimages

Gudrun Knaus

3 Marcantonio Raimondi and Fragmentary Ancient Statues: Hypotheses on His Working Method and Antiquarian Practice

Mandy Richter

4 Cherubino Alberti’s Engravings after Polidoro da Caravaggio: from Chiaroscuro to Sculpture

Maria Gabriella Matarazzo

5 From Sculpture to Print to Sculpture. Parmigianino, Caraglio and the Mystery of the Barberini Faun

Marzia Faietti

Part 2: Contemporary Sculpture

6 The Reproduction of Sculpture as Sculpture in 16th Century Prints: Baccio Bandinelli, Giambologna, and Adriaen de Vries

Anne Bloemacher

7 The Young Baccio Bandinelli and the Role of Prints at the Beginning of a Sculptor’s Career

Angelika Marinovic

8 Considering the Viewer in Prints of Michelangelo’s Risen Christ: The Cases of Beatrizet and Matham

Bernadine Barnes

9 On the Genesis of Antonio Tempesta’s Print of Henry ii on Horseback

Claudia Echinger-Maurach

10 Sculpture’s Narrativity in Northern Renaissance Prints

Franciszek Skibinski

11 Models for Sculptures in Print: Michelangelo’s Samson and Two Philistines in Lucas Kilian’s Engravings

Claudia Echinger-Maurach

Index

Über Autor(innen)

Anne Bloemacher is Assistant Professor of Art History at the University of Münster, where she completed her PhD in 2012 with a thesis entitled Raphael and Marcantonio Raimondi. Recent publications treat erotic prints in Raphael’s circle and Maximilian I’s self-fashioning.

Mandy Richter is working at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut. She has published the monograph Die Renaissance der Kauernden Venus (Harrassowitz 2016) and is currently preparing the edited collection Indecent Bodies in the Renaissance with Fabian Jonietz and Alison Stewart.

Marzia Faietti, former Director of Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi, teaches History of Drawing, Printmaking and Graphic Arts at the University of Bologna and at the Università Cattolica del Sacro Cuore in Milan. She is a scientific collaborator both of Uffizi and Kunsthistorisches Institut in Florenz—Max-Planck-Institut.