Word: marcantonio
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...Marcantonio was Lisa Pon's personal point of departure as well: "The idea actually started when I was studying last year for my exams. I was pulling out all of the Marcantonio prints and Marjorie Cohn [Carl A. Weyerhauser Curator of Prints] asked me if I wanted to do a show." Marcantonio was a rather infamous counterfeiter in his time. He is considered the preeminent reproductive engraver, "the first and the best." For Pon the show began as a meditation on Marcantonio's copies of Durer, but evolved because she wanted to put those prints (the ones in the hallway...
...show affirms that although Marcantonio may have been notorious, he was certainly not unique in his practice. "By the time of these prints, the printing press had already been around for a long time. The Renaissance itself was a movement founded on looking at predecessors." Marcantonio was in good company. The exhibit showcases a wide variety of types of art copied including religious pictures, maps, texts and chiaroscuoro woodcuts. Pon, in her manner of hanging and through textual supplements, subtly illustrates that, "copying isn't necessarily a bad thing, it was integral to the [Renaissance] visual culture." Here copies exist...
...then be used? Is a multiplicity of identical images less valuable than a single one? All of these questions which society is deliberating now were equally significant at the turn of the century with the invention of photography, and even before that, four centuries ago, in the time of Marcantonio and Durer...
...that would give you, me or Jesse Helms a hernia. These, like so much of Giulio's other work, may have come from a classical prototype: the spintriae, or tokens, stamped with obscene designs that were used for entry to Roman brothels in the second century A.D. The engraver Marcantonio Raimondi turned Giulio's I Modi (Ways, for short) into prints, and in this form they became enormously popular. They are still the most famous examples of visual pornography in Western art, although four centuries of attrition by prudery have destroyed almost all of them...
...Giorgionesque engravers Giulio and Domenico Campagnola. Watteau copies one Campagnola landscape; Rubens takes a motif from another, Rembrandt from a third. These hard, wiry- lined little engravings, with their slightly metallic nudes and sudden dark explosions of vegetation, are to the circulation of ideas about landscape what Marcantonio Raimondi's copies after Raphael are to the human figure: veritable talismans of influence...