Search

This article addresses the genesis and reception of three engravings representing peasants made by Albrecht Dürer between the years 1514 and 1519. These images have been interpreted as social commentary or low-brow farce; I argue their importance is art theoretical. In my view, they are the result of Dürer's 1505-6 visit to Venice, where Italian artists derided his ability to work in a classical idiom. In response, I argue, Dürer developed a method of imitation that I call "inverse citation," which veils a famous antique model in the guise of a boorish peasant. Following Luther's rebellion against the Church, northern artists took up this technique with more polemical aims. [ABSTRACT FROM AUTHOR]

The article focuses on the role and status of Dutch and Flemish printmakers in Rome between 1565 and 1600. The analysis on their roles are based on the information gathered including the graphic arts of Netherlandish scholars such as Domenicus Lampsonius and Philippe van Winghe and the critical writings of Karel van Mander. The letter of Domenicus Lampsonius to Giulio Clovio is often interpreted as the most emphatic praise of the potentialities of reproductive engraving and praise for the works of Cornelis Cort, an accomplished plate-cutter. His works played a major role in increasing and consolidating the reputation in the Netherlandish school of engraving. Works of the engravers tend to develop because of various explorations that lead them to discover new techniques and applications.

The article presents several art collections, inspired by Petrarch' Triumph, of Matthäus Greuter. Accordingly, Greuter has created an allegorical poem and it was successfully patronized in Italy in 15th and 16th century. In addition, his allegorical poem has been translated into several languages including French, Spanish, and English. His poem was inspired by his several art collections which consist of paintings, tapestries, and engravings. Greuter's painting collection "The Triumphs of Love, Chastity and Death and of Fame, Time and Eternity" has inspired several works of art.

The article offers information on Italian engraver and publisher Antonio Salamanca. Salamanca, who collaborated with Antonio Lafreri to create made-to-order composite map books during the mid-16th century, produced this finely engraved world map utilizing the double cordiform projection. Salamanca's engraving was based on a map published in 1538 by the noted Flemish geographer and map publisher, Gerard Mercator. Information about his early life along with his works are also considered in the article.

The article focuses on printer Gabriele Giolito's 16th century Venetian engraving titled "The Children of Venus." It provides a brief description of the engraving and the significant role played by its characters and figures such as Venus and Cupid. It also mentions the meaning of the laurel-encircled face of the sun and its association to Venus and the moon.