The Reception of the Printed Image in the Fifteenth and Sixteenth Centuries: Multiplied and Modified

ISBN-13: 9780367465117 / Angielski / Twarda / 2020 / 298 str.

Grażyna Jurkowlaniec; Magdalena Herman

Opis

This book examines the early development of the graphic arts from the perspectives of material things, human actors and immaterial representations while broadening the geographic field of inquiry to Central Europe and the British Isles and considering the reception of the prints on other continents.

Spis treści

Introduction: People Between Multiplied Things and Modified Images  Part 1: Things  1. Multiplicity and Absence: The Negative Evidence of Interactive Prints  2. Playing with Destiny: Three Late Fifteenth-Century Uncut Playing-Card Sheets from Florence and Urbino  3. Cultivating Designs: Early Ornamental Prints and Creative Reproduction  4. Gillet and Germain Hardouyn’s Print-Assisted Paintings: Prints as Underdrawings in Sixteenth-Century French Books of Hours  5. A Passion for Prints: Netherlandish Engravings in an Early Sixteenth-Century Prayer Book  Part 2: People  6. Eroticism under a Watchful Eye: Censorship and Alteration of Woodcuts in Ovid’s Metamorphoses between the Fifteenth and the Sixteenth Centuries  7. Limitations of the Reception and Consumption of Illustrations in Chronica Polonorum by Maciej of Miechów (Cracow, 1521)  8. A Foreign Affair. Thomas Gemini and his Booklet of Moresque Designs  9. Speaking Images and Speaking to the Images: Inscriptions in Religious Prints Published by Antonio Lafreri  Part 3: Images  10. Saint George from Greater Poland: Complexities of the Reception of Albrecht Dürer’s Engraving  11. Changing Fortunes: Dürer’s Nemesis and the Beham Brothers  12. The Set of the Four Elements by Hendrick Goltzius and the Use of Engravings in the Seventeenth Century  13. Different Confessions, Different Visions of Heaven? Visual Eschatology, Cross-Confessional Conformity and Confessional Identity Marking in the Picture Motet The Adoration of the Lamb and in Its Reception  14. Prints and the Beginnings of Global Imagery