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Art (530)
FAH230H1 (65)


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Giancarla Periti

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Week 6 – Printmaking in Renaissance Europe: making Multiple Copies; Print Technology  Art Medium we have not examine  Developed in the Renaissance, major influence  Mechanical reproduction of work of art o Unique of art became multiple  Second Part: printed work by albrecht The Martyrdom of ST. Sebastian, South Germany, 1470 – 75, London, British Museum (woodblock) The Martyrdom of ST. Sebastian, 1450 – 75, Coloured woodcut, Guidhall Library, Corporation of London  Once design Is created, ink are putted  Paper are put on the block  After the production of the woodcut, the woodcut is coloured  Woodcut lies the origin of book production, as it includes images and text Manuscript with St. Christopher, colored woodcut, ca. 1450, University Libarary, Manchester  Inscription: “whenever you look at the face of St. Christopher, you will not die a terrible death that day.”  Create the sense of movement  Inscription: Enhance meditation and prayers for private believers Petrus Christus, Portrait of a Female Donor and Portrait of a Male Donor, ca. 1455, Washington, DV. National gallery  Origins of printmaking  Importance of this works, 2 donors pray in their private domestic setting  Female: a coloured woodcut, subject is recognized as St. Elizabeth o A substitution for painting – cheaper, and works in other media (paper vs marble); the pray serve the privatization of piety o In their own space rather than in church o Print connected with poor people: happy with what they get, the couple are wealthy couple, print circulated in the renaissance not only among poor but also wealthy citizens Sister Regula’s Life of Christ, 1449, manuscript on paper, 125 folios, eighteen woodcuts and thirteen miniatures  Coloured woodcut, Annunciate  Most relevant passage of the life of Christ  Images and words are combined together  Prints could be produced in different size: flexibility in the medium (New to the field)  Circulation and Portable: all paintings and arts are not movable, painting are not really travelled, paintings are produced under a commission (being paid) and tend to stay; print are portable and mobile (print are produced for the art market without payment)  Iconography: stabilize the iconography itself  Multiples maker all gain revenue selling the print Nuremberg Chronicle, Ptolemaic plan of the world  Michael Wolgemut, Wilheim Pleydenwurff and workshop, The city of Nuremberg Chronicle…..  Books are different subjects , books are usually like saint’s book or life of saint new genre of book like Chronicle  Narrate the story of city with map  Open up new directions of knowledge in Renaissance Europe Martin Schongauer, Demons tormenting St. Anthony, ca. 1480-90, engraving, New York, Metropolitan Museum  Engraving technique  Woodcut – paint obtained out of a block of wood  Usually copper plate, ink goes into the lines, surface are cleaned, paper are pressed and paint are obtained  Engraving –more Victorial, more detailed and refined; woodcuts - lines are more hard and stronger, more defined  Animated movement and gesture  Copied from: o Michelangelo Buonarroti, Demons Tormenting St. Anthony, ca. 1487-88, Kimbell Museum of Art, Forth Worth  Roles of prints: o Circulation: serves artist for models and learning purposes o Tools for (piety?) Albrecht Duerer, The Four Horsemen of the Apocalypse, Woodcut, 1497-98  Artists who travel to be educated to be Schongauer, Schongauer was dead when he arrived  Large size, woodcut,  Published series of Woodcut from Apocalpse  Both in Latin and in German  Animated subject, the four horseman alignment with the four figures  More unity and circulation of the subject st o 1 man, crown and process of “” an arrow -personification of conquest o 2 man, rider with sword – war o Rider with scale/measurement – implementation of plague, shortage of food and sickness o Rider with sick health – death o End of humanities – animation of figures, o The monograph of the artists – AD defined his own art in his early career Duerer, Presentation of Christ in the Temple, 29.5 x 21.2 cm, 1505, woodcut, Wien, Albertina Marcantonio Raimondi, Presentation of Christ in the Temple, 1505, engraving Wien, Albertina  Duerer – woodcut, Marcantoni
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