The Renaissance Print, 1470-1550 / Edition 1

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1996 Trade paperback Very good. No dust jacket as issued. Corners of covers a bit worn, some shelf wear, interior and binding in excellent condition Trade paperback (US). Glued ... binding. 448 p. Audience: General/trade. The Friends of Art is a non-profit organization with all proceeds donated to student scholarships! Read more Show Less

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In this book, David Landau and Peter Parshall give the most complete account ever written of the ways in which Renaissance prints were produced, distributed, and acquired. Examining documentary evidence and many individual prints, this remarkable book provides an integrated view of the Renaissance print as a social and artistic enterprise and re-evaluates the achievements of the most influential phase in the history of European printmaking.
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Editorial Reviews

Library Journal
Never before has the Renaissance fine print received the type of multifaceted scrutiny elaborated in this superb synthesis. While focusing on the great prints and printmakers of Italy and Germany, the authors have articulated a consideration that rigorously evokes the various graphic techniques, their stylistic qualities and visual ramifications, and the aesthetic and theoretical context in which the prints were produced. Not only is the proximate setting of the prints' production convincingly educed, but the societal milieu of their dissemination, acquisition, and appreciation are also cogently reconstructed. All this is set within an overview that encompasses the rise, efflorescence, and decline of this new artistic medium. This is a work so rich in information, observation, and insight that no collection seriously concerned with the history of the graphic arts of Renaissance culture may dispense with it.-Robert Cahn, Fashion Inst. of Technology, New York
Antony Griffiths
"Landau and Parshall's massive volume is not only the book of the year, but the book of the past decade, indeed perhaps the book of the last century. It is a work of great erudition and energy that gives for the first time a shape to the great epoch of printmaking. It will introduce the field to a wide readership, as well as serving as the point of departure for all future scholarship." The Art Newspaper
Burlington Magazine
"From Berenson to Baxandall in one step."
David Alexander
"An outstanding book, remarkable for its intelligence as well as its mastery of the subject." -- Country Life
David Ekserdjian
"A tour de force... An extremely important book." The Times (London)
David McKitterick
For those who seek to understand more about how prints were made during the Renaissance, the criteria by which they were judged, the purposes for which they were intended, the uses to which they were put and the sheer diversity of their achievements, this daringly conceived and magnificently produced book should stand for many years to come." New York Times Book Review
Katherine A. McIver
"This book is more than a foundation, it is essential reading for the Renaissance scholar and collector alike." Sixteenth Century Journal
Stephen Goddard
"Enthusiasts of early prints will delight in the long-anticipated arrival of this penetrating study by two of the most thoughtful champions of the Renaissance print... This text is chock-full of nuggets of information that mavens of print lore wil thrive on... This is a most welcome volume -- it is at once an authoriative reference and refreshing rethinking of the Renaissance print." -- Print Collector's Newsletter
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Product Details

  • ISBN-13: 9780300068832
  • Publisher: Yale University Press
  • Publication date: 9/28/1996
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 448
  • Product dimensions: 9.65 (w) x 11.21 (h) x 1.12 (d)

Table of Contents

I Framing the Renaissance Print 1
II Craft Guilds, Workshops, and Supplies 7
Printmakers and the Organized Crafts 7
The Printmaker's Workshop and Its Necessities 12
Paper: The Printmaker's Ground 15
Blocks and Plates: The Printmaker's Matrix 21
Printmaking Presses 28
Production Rates, Costs, and Market Value 30
III How Prints Became Works of Art: The First Generation 33
Book Illustration and Specialization in the Woodcut Trade 33
Anton Koberger's Enterprise 38
Anton Kolb and Jacopo De' Barbari: Northern Enterprise Abroad 43
Northern Engraving and the Inventions of the Master ES 46
Martin Schongauer: His Innovation and His Imitators 50
Israhel Van Meckenem: Entrepreneurial Printmaker and Pirate 56
Early Traces of Print Collecting 64
The Development of a Tonal System 65
The Impression as a Work of Art 78
Prints as Competitors of Paintings 81
The Market 91
IV From Collaboration to Reproduction in Italy 103
The Early Years 104
Marcantonio, Agostino Veneziano, and Marco Dente 120
Titian, Parmigianino, and Rosso and Their Collaboration With Ugo Da Carpi, Caraglio, and Antonio Da Trento 146
The Birth of the Reproductive Print 162
V The Cultivation of the Woodcut in the North 169
The Refinement of the Single-Leaf Woodcut: 1500-1512 169
The First Masters 170
Color Printing 179
Altdorfer and the Miniature Woodcut 202
Emperor Maximilian's Woodcut Projects 206
Maximilian's Block Cutters Thereafter 211
Corner Presses and Their Public 219
Mural Woodcuts and Their Proper Walls 231
Prints and Facts: The Specialized Markets 237
VI Artistic Experiment and the Collector's Print 260
The Innovators and Their Followers 261
Italian Printmakers: Their Milieu and the Market 284
Print Publishing in Italy 298
Northern Engraving: The Refinement of the Art 310
Etching: The Failed Experiment 323
Northern Printmakers: Their Milieu and the Market 347
VII Epilogue 359
Appendix: Currencies, Values, and Wages 369
Abbreviations 372
Notes to the Text 373
Bibliography 415
Index 429
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