Engraving and Printing

Artículo incluido en las «Actas del I Foro Internacional de Arte Múltiple».

Durante los días 20 y 21 de octubre de 2011, se celebró el I Foro Internacional de Arte Múltiple, en el marco de la Feria de "Estampa Arte Múltiple". Siguiendo las principales líneas de actuación trazadas desde la Dirección del evento y en colaboración con D. Javier Blas – Director Artístico de la Feria – el grupo dx5 - digital & graphic art research actuó como co-organizador de dicho foro, y formó parte integrante del comité científico del mismo.

El Foro de Arte Múltiple sirve como plataforma de encuentro y comunicación para especialistas, artistas e investigadores, en torno al arte múltiple, entendido desde una órbita claramente multidisciplinar, que abarca todas las manifestaciones susceptibles de ser editables: fotografía, grabado, escultura, vídeo, arte digital, libros de artista, arte sonoro y otras manifestaciones de arte seriado. Ahora más que nunca, conceptos como serie, original múltiple o autoría compartida, se hallan en plena efervescencia: el arte contemporáneo es múltiple.

El foro se articulaó en torno a tres grupos de trabajo. Durante la jornada del día 20 tuvieron lugar dos mesas redondas, que abordaron los enfoques científico-técnico y teórico-conceptual respectivamente, constituidas por artistas e investigadores de distintos grupos de investigación de universidades y centros de arte españoles e internacionales. En estas sesiones cada ponente intervino con una comunicación, pero tabién debatió con el resto de conferenciantes, así como con el público asistente, que podía lanzar o plantear diferentes cuestiones relacionadas con los contenidos propuestos. Asimismo, el día 21 se desarrolló un tercer taller correspondiente al apartado de praxis artística, más vinculada a la realidad expositiva y comercial del mercado, con la participación de gestores y comunicadores con responsabilidad en departamentos de investigación en centros de arte, museos y asociaciones, a cargo de la Fundación Telefónica y bajo la tutela de Karin Ohlenschläger (Vicepresidenta del Instituto de Arte Contemporáneo).

Texte publié dans le catalogue de l’exposition Impressions à Montmartre : Eugène Delâtre et Alfredo Müller (Paris, Musée de Montmartre, septembre 2013 – janvier 2014), Milan : Silvana Editoriale, 2013 (pp. 13-37).

Ce texte est le premier essai d’envergure consacré à l’œuvre du graveur et imprimeur Eugène Delâtre, figure incontournable de la vie artistique à Montmartre autour de 1900. Architecte en chef de la rénovation de l’eauforte en couleurs, il initia de nombreux artistes à cette technique comme aux autres méthodes de gravure en taille-douce. Parmi les plus célèbres qui fréquentèrent son atelier on peut citer Pablo Picasso, Georges Braque, Paul Signac, Paul Gauguin, Théophile-Alexandre Steinlen, Jacques Villon ou encore Mary Cassatt.

Resumo: O presente artigo centra-se na análise da imagem gravada de Sintra, produzida em Portugal
e no estrangeiro no período compreendido entre 1793 e 1875. Pretendemos observar a sua
influência na construção da imagem romântica da histórica vila de Sintra e da serra que a acolhe. O
cenário sintrense foi um dos primeiros locais do país a ver reconhecida internacionalmente a sua
paisagem-imagem, transformada em tema pictórico-visual de excelência. Da investigação realizada
ficou clara a influência inglesa em Sintra, expressa na divulgação, transformação e construção da
paisagem que contribuíram, substancialmente, para a criação e reinvenção visual daquele cenário
privilegiado.

Abstract: This article focuses on the analysis of the recorded image of Sintra, produced in Portugal
and abroad in the period between 1793 and 1875. We intend to observe its influence in the
construction of the romantic image of the historic town of Sintra and the mountain range that the
welcomes The Sintra scenery was one of the first places in the country to see internationally
recognized its landscape-image, transformed into pictorial-visual theme of excellence. From the
research carried out, the English influence in Sintra, expressed in the dissemination, transformation
and construction of the landscape, which substantially contributed to the creation and visual
reinvention of this privileged scenario became clear.

Molt especialment des de la seva obra gràfica, d’una rigorositat tècnica a l’abast de pocs, Colom va assolir un llenguatge propi, una mirada particular i única, conreant gairebé totes les tècniques de gravat, directes i indirectes, destacant en l’aiguafort i molt especialment en la manera negra, amb la qual inclús va experimentar combinant diferents planxes i colors. Una de les seves obres mestres son les dotze maneres negres que realitzà per a l'edició de bibliòfil de les 'Estampas Taurinas' (1963).

Jeremias Falck (c. 1605/09–1677) is considered to be the greatest engraver of early modern times working in the Polish-Lithuanian Commonwealth. Graphical representa- tions of  ower forms constitute a signi cant part of his oeuvre. So far they have not been of special interest to researchers, therefore it is worth giving them more attention now. It seems necessary to look at the existing attributions to estimate the real number of Falck’s works on this subject, and to formally analyse various prints. It is also necessary to critically approach the questions of the original prints, later editions, and copies.
Up to date researchers have recorded selected  ower representations, without referring to the information in the only catalogue raisonné of Falck’s works by Block, who attributed to him up to 98 compositions on the subject. Only by compar- ing prints from the Polish museums with various collections abroad the answer to the question how many  ower arrangements were actually created by Jeremias Falck can be provided.
Falck’s authorship of the series Novae et exquisitae FLORUM ICONES has been con rmed. It is also highly likely that he elaborated most of the plates of the series Verscheyde Nieuwe TULPEN.
From the frontispiece of the series Novae et exquisitae FLORUM ICONES we can
conclude that Falck was not only the engraver, but also the author of the composition (inventor). Flowers in his works do not map a particular set of a botanical collection, but are a recommendation for an artistic representation of the plant.  ey could have been a kind of a template for painters, and at the same time objects d’art for collectors.  anks to their artistic qualities, perfect workmanship, and attention to the highest editorial standards, Falck’s  ower engravings became desirable works in the art mar- ket, copied by other designers and reprinted by other publishers.
e analysis of the preserved prints linked to Falck can also lead to a number of general conclusions on the functioning of the market for graphic art in the 17th cen- tury. Florilegia were usually formed in series containing a few to a dozen composi- tions. Herbaria’s cards could circulate in the form of a compact collection of a few series together, but also in smaller folders or even as loose cards.  e study shows that they were particularly popular in 17th-century France and the Netherlands.  e increase in production, mainly of the copies of previous cycles, occurred in the 1670s and lasted until the early 18th century. Falck and Vauquer were copied by Gerard Valck, Nicolaes Visscher and many others.

This is a the presentation delivered at the four-day meeting of members of the Brussels Map Circle with its Italian sister organization called Associazione Roberto Almagià in 2016. From 4 to 7 May map specialists from Belgium, Italy and Great Britain met at the Academia Belgica in Rome to exchange ideas on the so-called IATO atlases, otherwise known
as Lafreri atlases.
This contribution focused the importance of the "Priviliegio" asket to Venetian Senate and Roman Papal Court to protect the conceptual ideas and the formal aspect of maps in Rome and Venice during the early Renaissance.
A sample of the way of draw local maps from larger geographical context is provided with the Map of America by Paolo Forlani.

...« Ce monarque se fit admirer par son extrême curiosité toujours tendante à ses vues de gouvernement, de commerce, d'instruction, de police ». C’est dans cette optique qu’il paya plusieurs visites aux institutions techniques ou scientifiques les plus modernes de la capitale. De son passage à l’Académie des Sciences, le Recueil de plusieurs traitéz de mathématiques de l’Académie Royale des Sciences, publié par l’Imprimerie Royale en 1676, semble le souvenir. Dans la même journée, il alla à l’Observatoire, aux Gobelins et au Jardin des Plantes. L’Observatoire faisait partie des plus prestigieuses fondations du règne précédent, dont l’architecture manifestait la modernité....

A lively portrait of Naples, around the third quarter of the XVIII century, comes from a deep analysis of the urban views drawn and engraved from a most impressive artist-architect. Etienne Giraud, a roman native whose biography is almost untraced, visited and lived in the Capital of the Kingdom of Naples during the years 1767-1771 and dedicated to the most relevant diplomatic corp and to the aristocracy of Naples a series of 31 engravings of modern and ancient monuments, natural places and views in the of the Gulf of Naples from the Ponte della Maddalena to Pozzuoli.

Cette thèse est la première thèse consacrée à l'éventail en France.

Elle porte sur l’étude du décor de la feuille d’éventail produite dans les ateliers parisiens depuis la fin du XVIIe siècle jusqu’au début de la Révolution.

La première partie a pour ambition de présenter succinctement le contexte artisanal en s’intéressant d’une part à la corporation et d’autre part aux conditions de fabrication de l’objet. La place des éventaillistes parmi les artisans parisiens du luxe est abordée ainsi que la valeur de ce commerce tant du point de vue du volume que de la reconnaissance de ce savoir-faire parmi les autres productions européennes.
Dans un second temps, la présentation de l’iconographie de la feuille permet de souligner la grande variété des thèmes, leur fréquence et leur variation sur la période. En complément de décors inspirés par l’histoire antique et la mythologie, d’autres sujets, marqués par une forte corrélation avec l’actualité et la vie politique du royaume, sont identifiés. Les thèmes liés au divertissement, la pastorale, les jeux, la musique ou encore le théâtre constituent un dernier pôle très représentatif.

Cette approche conduit à s’interroger sur les influences subies par les peintres ou les graveurs et à comprendre les caractères et les spécificités des décors. Des parallèles sont effectués afin de les replacer dans le contexte artistique par des comparaisons avec la gravure, la peinture, les arts décoratifs et la littérature de colportage notamment. Il apparaît que l’ambition décorative, qui se manifeste par la place de l‘anecdote et le goût du pittoresque, n’amoindrit pas la valeur didactique de l’objet comme le démontre l’importance accordée aux textes et aux chansons notamment.
La dernière partie ouvre l’étude sur une réflexion autour de l’éventail et de son appréciation par les contemporains. L’enthousiasme exprimé par les femmes s’oppose à la virulence des écrits de certains critiques et de peintres. Cette confrontation permet de mettre en exergue la reconnaissance de l’objet comme expression de la société féminine mais aussi comme reflet de l’expansion des arts décoratifs au XVIIIe siècle.

Mots clés : éventail, mode, accessoire de mode, artisanat du luxe.

***
This thesis is the first thesis about antique fans in France.
This thesis concerned with the decoration of fan leaves produced in Parisian workshops between the end of the XVIIth century and the beginning of the French Revolution.
The first part attempts to present succinctly the conditions in which fan leaves were manufactured, namely the place of fan-makers among Parisian artisans of luxury goods and the value of this business compared to that of other European producers.
Following in the second section is the presentation of the iconography of the fan leaf, stressing the wide variety of themes, their frequency and variation in this period. Apart from subjects from ancient history and mythology, a strong correlation between everyday events and the political life of the kingdom emerges. Entertainments, country pursuits, games, music and theatre are also topics widely represented.
This approach leads to a discussion on the conditions imposed on the painters and engravers and an examination of the characteristics and details of the chosen decorations. Parallels are drawn so that the fan leaves can be given an artistic context alongside engraving, painting, the decorative arts and relevant literature. As demonstrated in texts and, particularly, in songs, it seems that anecdotal decoration and the taste for the picturesque does not diminish the didactic value of the object.
Finally, the concluding part of the thesis reflects on the fan leaf as it was considered by contemporary writers. Feminine enthusiasm against the attacks of certain male writers reveals that the value of the object was principally an expression of female society but also that it was an object with a significant place in the expansion of the decorative arts in the XVIIIth century.

Key words : fan, fashion, fashion accessory, luxury goods.

This study reveals the arrival of prints and books to the North of Spain acquired by the Italian merchant Antonio Pisano in Rome during a trip of 1582-1583. The voyage was financed thanks to the temporary commercial company established between Pisano and the Genoese Juan Luis de Musante, royal master-builder to Felipe II in Navarre, and both residents in Pamplona. The works include engravings of sacred and profane themes by the most important engravers of the epoch, such as the Dutch Cornelis Cort and the Mantuans Adamo and Diana Ghisi, in addition to books of figures, some by outstanding artists such as Michelangelo or Polidoro da Caravaggio.

El presente estudio revela la llegada al norte de España de estampas y libros adquiridos en Roma en el viaje realizado entre 1582 y 1583 por el italiano Antonio Pisano, financiado gracias a la compañía mercantil temporal establecida entre éste y el genovés Juan Luis de Musante, maestro mayor de obras reales de Felipe II en Navarra, residentes en Pamplona. Grabados de temática sacra y profana realizados por destacados artistas de la época, como el holandés Cornelis Cort y los mantuanos Adamo y Diana Ghisi, además de libros de figuras, algunos de artistas tan sobresalientes como Michelangelo o Polidoro da Caravaggio.

Tarifa Castilla, María Josefa (2017): “El comercio de estampas entre Roma y España a finales del siglo XVI: el caso del mercader italiano Antonio Pisano”. En: Archivo Español de Arte, vol. 90, núm. 357, Madrid, pp. 49-66; doi: 10.3989/aearte.2017.04.

The book publishes the acts of a colloque held in 2008 about the influence of serial models, as engravings or plaquettes, on art in Lombardy in Mantegna's age. Scholars and curators of museums show very different examples of influences in very different kinds of artistic techniques.

The Collections of the Romanian Academy Library- a continuous source of unedited materials: Additions and corrections to the Romanian Old Bibliography

The study is based upon the research of several printings, unknown to the Romanian Old Bibliography. Thus, ten new printings from the 17th and the 19th century are brought to the attention of the old Romanian books historians. Besides these, three more book editions from the Romanian printing presses from the years 1714-1747 are presented, completing the data about other four Romanian editions. Their descriptions have been corrected and completed with new information. The study enriches the repertoire of old Romanian books and graphics, brings to light some moments from the Romanian printing press history and confirms, once again, the efforts of the Orthodox Church for the dissemination of the Holy Word and Teaching amongst the people.

The artist’s hand has always been a crucial topic and a topos in art as well as in literature and philosophy. Conversely, Raphael’s hands have become a topos in their negation, in their quasi non-existence. The “Raphael without hands” was a concept established long before G.E. Lessing. It was conceived of in Raphael’s times, supposedly by the artist himself, and it was linked to a concept of creativity rooted in Antiquity. Raphael’s self-conception was indeed understood by following artists and taken up in a satirical way. In fact, after Enlightenment and French Revolution the concept of the “artist without hands” (and especially that of “Raphael without hands”) was negatively interpreted and mockingly criticized in terms of a re-evaluation of the master’s relation to his school.

Autour d’une gravure du XVIe (~1590), dite Monde dans une tête de fou. 36 x 48 cm, présentée lors de l’exposition Le Monde en Sphères, à la BnF du 16 avril au 21 juillet 2019
On y discute également du poète Pierre de Laudun d'Aigaliers, et du St Empire.

The paper analyses the lofe and work of two British engravers of  German origin, Johann Gottlieb and Georg Sigmund Facius, who established themselves  in London in the 1770s. Today, engravings by brothers Facius can be found at many collections, public and private, both in England and abroad.
However, little  is known about the artists themselves. Almost all present information about the artists is based on early Dictionaries by Nagler, Bryan and Redgrave, and virtually nothing is known in England about their life circumstances, relations and characters.
But recently some new materials came to light. Among them – the church records of Facius-father’s marriage and birth/baptising records of his children, small part of family correspondence and most important – the Curriculum Vitae of both Johann Gottlieb and Georg Sigmund written by the first in 1790. In summary, all these documents enrich significantly our knowledge about the artists, bring to the light their until unknown brother Septimus and his activity in England, and generally correct some dramatic errors which have been continually repeated on the span of two centuries.

The present chapter investigates the engraved frontispiece and portrait of Descartes’ Opera philosophica, fourth edition by Janssonius & Weyerstraten, 1664, Amsterdam, tracing their production, later versions, visual elements and possible interpretations, while also placing them in the wider seventeenth-century context of print production and book trade.

Los manuscritos medievales castellanos derivados de la Legenda aurea no poseen ilustraciones. En cambio, en el compendio de impresos de los siglos XV y XVI existen una gran cantidad de grabados —tanto toscos como finos— que responden a distintas características editoriales. Entre éstas, la reutilización y la especificidad eran determinantes para el taller que emprendía la tarea de ilustrar una de las obras de mayor éxito en la época: el Flos Sactorum. A partir de estos hechos, y dentro de un marco teórico propuesto por la historia de las religiones, se pretende destacar que dichas características no sólo atañen a cuestiones bibliológicas, sino que sirven para potenciar la hierofanía que insta esta clase de libros. Para tales propósitos se analizan dos significativos representantes, 1) la anónima Leyenda de los santos (Juan de Burgos, ca. 1497): el impreso ilustrado más próximo a la tradición manuscrita de esta clase de textos; 2) el Flos Sanctorum de Pedro de la Vega (imprenta de Fernando Díaz, 1580): el último miembro del llamado Flos Sanctorum renacentista y una de las primeras obras del género en ser aprovechadas en el Nuevo Mundo.

La reforma, bajo las órdenes de Felipe IV, del pabellón de caza denominado como la "Torre de la Parada" supone, junto al Palacio del Buen Retiro, el otro gran proyecto arquitectónico original de su reinado. En su decoración, el programa iconográfico presentaba al monarca como hábil cazador. De forma similar, los retratos del príncipe Baltasar Carlos (reflejo de su padre) van más allá en su significado de las elogiadas destrezas del niño en la montería. Su representación cinegética se une simbólicamente con el ámbito militar y la virtud política, siguiendo ideas comunes de la época, que se remontan a la Antigüedad. Así, la excepcional calidad de sus retratos como niño/ adolescente-cazador se complementa con una lectura metafórica que enriquece estas representaciones de poder del Siglo de Oro. Enfrentando los retratos del príncipe como cazador con el bagaje cultural y simbólico de la caza en el primer tercio del siglo XVII, se verá cómo la actividad cinegética surge como vehículo para comunicar la imagen de Baltasar Carlos como un príncipe labrado en la actividad física, bien entrenado para las futuras campañas bélicas, y por ello, buen aprendiz del virtuosismo político que utilizará en la adultez.