Chapter 6 The Reproduction of Sculpture as Sculpture in 16th Century Prints: Baccio Bandinelli, Giambologna, and Adriaen de Vries
In: Sculpture in Print, 1480–1600Search for other papers by Anne Bloemacher in
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Abstract
The following essay tackles two hitherto neglected aspects of sculpture in print: it analyzes the translation of 16th century sculptures by contemporary engravers or woodcutters into print who, at the same time, render these sculptures as sculptures in their engravings and woodcuts. Beginning with Agostino Veneziano’s engravings after Baccio Bandinelli, followed by Andrea Andreani’s chiaroscuro woodcuts after Giambologna and leading finally to Jan Muller’s engravings after Adriaen de Vries, I will identify the modes of “reproduction” or translation - for example, how the materiality of sculpture is rendered in print or which point of view is chosen – to elaborate the printmaker’s intention for the sculpture’s representation in print. The focus lies on how the materiality of sculpture is rendered in print and which point of view is chosen. Due to the multiple perspectives of many later 16th century figure groups, the latter constituted a special challenge for the printmaker. Bloemacher elaborates which aspects of the sculptural work the printmaker sought to convey and points out that the “fast” medium of print could actually even respond to contemporary debate on the sculptures.