Week 6 - Making Renaissance Art - Chapter 6 - The Printed Picture in the Renaissance

Introduction

In this brief introduction by Kim Woods she states how the use of prints ranged across wide areas of society and uses from decorative ceiling paper to valued collectors items. She mentions how books were printed from single page blocks prior to the introduction of moveable print. The chapter will focus on the emergence of what were later called 'fine art prints'.

1. A practical comparison

As this title suggests this is a discussion of two versions of Albrecht Durer's The Angel Appearing to Joachim Plate 6.2 p.212 and Plate 6.3 p.213 which was engraved by Marcantonio Raimondi and highlights differences between woodcuts and intaglio print which is an engraved or etched copper metal plate.

2. Authorising a division of labour

Again a self-explanatory title in which there is an exploration of the relationship between the artist or designer and the craftsman who actually cut the woodblock and worked on the metal plate. There is also some discussion of the monetary rewards of the individuals, and even the variations in their status.

3. Early woodcuts and the emergence of intaglio printing

Early examples of engravings and woodcuts and their development. Also, the influence that these had on the later production of German sculpture. The engravings reflect the forms in Netherlandish painting.

4. The engraving as independent work of art

Again as indicated by the title this section considers the work of a number of engravers and artists and how prints were producrd as works of art in their own right. There is particular mention of the cross fertilization between painting, sculpture and print making. Discussion also takes place in relation to the emergence of entreprenurial activities in the production of these fine art prints.

5. Paper, printing and publication

Self-explanatory with the development of paper production came a major upturn in the printing of books, which in turn called for further improvements and increase in paper production. The increase in books called for an increase in illustrations, and alongside these major publishing enterprises there flourished, for a similar intellectual audience a developing market for independent prints as works of art.

6. Distribution and collection

This section deals with the rise in the status of the print as it became a collectible item and regarded as an item of value even though multiple copies could be made. It also draws attention to the manner in which prints became widely circulated primarily amongst professional artists and workshops. How engraving offered significant addition to the graphic patterns and models used by artists and workshops. Effects of this are demonstrable in works that show the copying of the whole or parts of other works e.g. Plate 6.27 p.240 shows copying from Plate 6.28 p.241 together with figures taken from Michelangelo's cartoon. Also how they began to bridge the social divide so that works were no longer the preserve of an elite few.

7. Invention and reproduction

This section focuses on the activities of Marcantonio Raimondi and his relationship with Durer and his collaboration with Raphael which establish him as the first professional engraver.

N.B. Useful discussion of this chapter in the Study Guide.