Sculpture in Print, 1480–1600 is the first in-depth study dedicated to the intriguing history of the translation of statues and reliefs into print. The multitude of engravings, woodcuts and etchings show a highly creative handling of the ‘original’ antique or contemporary work of art. The essays in this volume reflect these various approaches to and challenges of translating sculpture in print. They analyze foremost the beginnings of the phenomenon in Italian and Northern Renaissance prints and they highlight by means of case studies amongst many other topics the interrelated terminology between sculpture and print, lost models in print, the inventive handling of fragments, as well as the transformation of statues into narrative contexts.
Anne Bloemacher is Assistant Professor of Art History at the University of Münster, where she completed her PhD in 2012 with a thesis entitled
Raphael and Marcantonio Raimondi. Recent publications treat erotic prints in Raphael’s circle and Maximilian I’s self-fashioning.
Mandy Richter is working at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut. She has published the monograph
Die Renaissance der Kauernden Venus (Harrassowitz 2016) and is currently preparing the edited collection
Indecent Bodies in the Renaissance with Fabian Jonietz and Alison Stewart.
Marzia Faietti, former Director of Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi, teaches History of Drawing, Printmaking and Graphic Arts at the University of Bologna and at the Università Cattolica del Sacro Cuore in Milan. She is a scientific collaborator both of Uffizi and Kunsthistorisches Institut in Florenz—Max-Planck-Institut.
List of Figures Notes on Contributors
“Quanto in virtù d’una ingegnosa mano / la fermezza de’marmi ai fogli cede”: The Art of Translating Sculpture into Print. An Introduction Anne Bloemacher, Mandy Richter and Marzia Faietti
Part 1: Antique Sculpture
Aes Incidimus: Early Modern Engraving as Sculpture Madeleine C. Viljoen
Transferring Ancient Sculptures into Prints. Marcantonio Raimondi’s “Quos Ego”: Its Prototypes and Afterimages Gudrun Knaus
Marcantonio Raimondi and Fragmentary Ancient Statues: Hypotheses on His Working Method and Antiquarian Practice Mandy Richter
Cherubino Alberti’s Engravings after Polidoro da Caravaggio: from Chiaroscuro to Sculpture Maria Gabriella Matarazzo
From Sculpture to Print to Sculpture. Parmigianino, Caraglio and the Mystery of the Barberini Faun Marzia Faietti
Part 2: Contemporary Sculpture
The Reproduction of Sculpture as Sculpture in 16th Century Prints: Baccio Bandinelli, Giambologna, and Adriaen de Vries Anne Bloemacher
The Young Baccio Bandinelli and the Role of Prints at the Beginning of a Sculptor’s Career Angelika Marinovic
Considering the Viewer in Prints of Michelangelo’s Risen Christ: The Cases of Beatrizet and Matham Bernadine Barnes
On the Genesis of Antonio Tempesta’s Print of Henry ii on Horseback Claudia Echinger-Maurach
Sculpture’s Narrativity in Northern Renaissance Prints Franciszek Skibiński
Models for Sculptures in Print: Michelangelo’s Samson and Two Philistines in Lucas Kilian’s Engravings Claudia Echinger-Maurach
Scholars and students interested in the history of prints, the reception of sculpture in other media, as well as scholars working on the visual arts of the Renaissance in general. Keywords: print, engraving, woodcut, Renaissance, early modern print, early modern sculpture, ancient sculpture, printmaking, theory of printmaking, reproductive print, history of print, Michelangelo, Marcantonio Raimondi, Baccio Bandinelli, Giambologna, Agostino Veneziano, Cherubino Alberti.