The Renaissance Print, 1470-1550Through an examination of material and institutional circumstances, through the study of work shop practices and of technical and aesthetic experimentation, this book seeks to give an account of the ways in which Renaissance prints were realized, distributed, acquired, and handled by their public. |
Contents
FRAMING THE RENAISSANCE PRINT | 1 |
II | 7 |
Printmaking Presses | 28 |
The Impression as a Work of | 78 |
IV | 103 |
THE CULTIVATION OF THE WOODCUT IN THE NORTH | 169 |
162 | 227 |
ARTISTIC EXPERIMENT AND THE COLLECTORS PRINT | 260 |
Their Milieu and the Market | 284 |
Print Publishing in Italy | 298 |
The Refinement of the Art | 310 |
The Failed Experiment | 323 |
Their Milieu and the Market | 347 |
EPILOGUE | 359 |
Common terms and phrases
Albrecht Altdorfer Albrecht Dürer albums Altdorfer's Andrea Antonio Antwerp appears artists Augsburg Basel Beccafumi Berlin block cutter British Museum broadsheet Burgkmair burin career chiaroscuro woodcut collaboration color composition copies copper dated designs document Domenico Beccafumi drawings drypoint Early Italian Engraving edition etching evidence example fifteenth figures Florence Florentine Francesco Rosselli German Giulio guild gulden Guldenmund Hans Burgkmair herbal Hieronymus Hind Hopfer illustrations impressions inscription intaglio invention inventory Israhel van Meckenem Italy Jacopo Kupferstichkabinett landscape later Lehrs Liefrinck line block London Lucas van Leyden Mantegna maps Marcantonio Raimondi Marco Dente Master Maximilian medium Negker northern Nuremberg painters painting paper Parmigianino Peutinger plates portrait practice printmaking prints probably production published Raphael recorded Renaissance reproductive Rome Schongauer sheets sixteenth century style suggests surviving technical technique tone block Ugo da Carpi Vasari Venice Vienna watermarks woodblocks workshop