1-13 of 13 results  for:

  • Renaissance/Baroque Art x
  • Prints and Printmaking x
  • Graphic Design and Typography x
Clear all

Article

Rosemarie Bergmann

(b Paderborn, 1502; d Soest, Westphalia, 1555–61).

German engraver, painter and designer. He was the most important graphic artist in Westphalia in the 16th century. His reputation rests largely on his ornamental designs, which make up about one third of his c. 300 engravings. They were principally intended as models for metalworkers but were also adapted by other craftsmen for such decorative arts as enamel, intarsia and book illustration. Aldegrever followed Dürer and the Nuremberg Little Masters, deriving models for his paintings and subject prints as well as a full repertory of Renaissance ornamental motifs: fig and Acanthus foliage, vases and cornucopia, combined with putti and satyrs, tritons, mermaids and dolphins, sphinxes, masks and medallions. From the beginning of his career Aldegrever was aware of the artistic trends of the time: the Dürer influence was strongest at its outset yielding somewhat in work of the 1530s to Mannerist tendencies under Netherlandish influence, though never waning entirely.

Aldegrever was the son of Hermann Trippenmeker (...

Article

Feliciano Benvenuti

Italian family of typographers, engravers, publishers and print dealers. Members of the family were active in Venice and Padua in the 16th century and the early 17th. Most notable among them were Luca Bertelli (fl Venice, c. 1560; fl Padua, 1594), Orazio Bertelli (fl Venice, 1562–88), who was possibly Luca’s brother, and Ferdinando (Ferrando, Ferrante) Bertelli (fl Venice, 1561–72). It is difficult to determine the extent of Luca Bertelli’s participation in the execution of the prints he published; they were mainly historical, religious and mythological. Orazio Bertelli probably encouraged Agostino Carracci’s visit to Venice in 1582. Orazio’s engravings included the works of Federico Barocci, Domenico Tibaldi and Paolo Veronese, notably a Pietà (De Grazia, p. 125, no. 102). Ferdinando Bertelli was best known for his publication of a vast number of maps, by both Italian and foreign cartographers.

DBI; Thieme–Becker D. De Grazia: Le stampe dei Carracci...

Article

(b Amsterdam, 1522; d Gouda, Oct 29, 1590).

Dutch printmaker, poet, writer, theologian and philosopher. His work as a printmaker began in Haarlem in 1547, when he made a woodcut for a lottery poster after a design of Maarten van Heemskerck. From then until 1559 Coornhert worked as Heemskerck’s principal engraver. Initially he etched his plates, but during the 1550s he turned to engraving. He was possibly also responsible for the woodcuts after Heemskerck and the publication of Heemskerck’s early prints. In addition, he engraved designs by Willem Thibaut (1524–97) in 1556–7, Lambert Lombard in 1556 and Frans Floris in 1554–7. During this period Philip Galle was his pupil. In 1560 Coornhert temporarily stopped his engraving activities, set up a print publishing house, became a clerk and devoted himself to his literary work. In 1567 he was arrested for political reasons but managed to escape to Cologne in 1568. During his exile, which lasted until 1576...

Article

(b Warburg, 1553–4; d Warburg, 1603).

German goldsmith, engraver and draughtsman. Probably from a long-established Warburg family of freemen, he is first fully named in 1578, in an engraving that shows his connections with scholars as an illustrator of academic works. One of these was Michele Mercati, for whom Eisenhoit worked during a stay in Rome c. 1580 on the Metallotheca Vaticana, a work cataloguing the Vatican’s scientific collections. His style draws principally on the Roman Late Renaissance. Back in Germany by c. 1582–5, Eisenhoit began to work primarily for patrons residing near Warburg, where he had settled by 1587 at the latest. Commissions of these years show work for the Hessian courts in Kassel and Marburg and the beginning of his cooperation with Jost Bürgi, instrument-maker and mathematician to the Landgrave of Hesse-Kassel. Between c. 1582 and 1594 Eisenhoit decorated Bürgi’s mechanical celestial globes with engravings and illustrated with etchings a treatise on engineering.

Eisenhoit’s first works in gold (...

Article

Jacques Thirion

(b c. 1510; d ?Bologna, c. 1565).

French sculptor, illustrator and architect. He was one of the great masters of relief sculpture. Through his collaboration with the architect Pierre Lescot he was involved in many major building projects, and in his refined relief sculptures, such as the carved panels for the Fountain of the Innocents, Paris, he achieved a highly personal synthesis between the mannered style of the Fontainebleau school and a classicism derived from his study of antique sculpture. He illustrated with skilful and lively wood-engravings Jean Baptiste Martin I’s first complete French translation (Paris, 1547) of Vitruvius, De architectura: Architecture ou art de bien bastir, an edition that was to have considerable influence on the revival of the classical style in France.

Goujon was possibly of Norman origin, and the knowledge of the sculpture and architecture of anti-quity and the Italian Renaissance displayed in his works suggests that he spent time in Italy. He is first recorded at Rouen in ...

Article

Paul Hogarth

(b Kotagiri, Madras, India, March 13, 1836; d London, Nov 25, 1875).

English painter and illustrator. He played a leading role in the renaissance of wood-engraved illustration during the so-called golden decade of English book illustration (c. 1860–75), when a new school of artists overcame the limitations of the medium. Deeply influenced by the idealism of the Pre-Raphaelite Brotherhood, he imbued both his paintings and drawings with a haunting blend of poetic realism. He was the fourth son of Captain John Michael Houghton (1797–1874), who served in the East India Company’s Marine as a draughtsman.

Houghton was admitted to the Royal Academy Schools, London, in 1854 but did not pass further than the Life School. He received additional training at J. M. Leigh’s academy and its convivial corollary, the Langham Artists’ Society, which was then a forcing-house for young impoverished painters who wished to have a foot in both publishing and the fine arts. There, with older artists such as Charles Keene and John Tenniel, he learnt to run the race against time with a set weekly subject. Keene, already a well-known contributor to ...

Article

[Kristoffel; Stoffel]

(b Zurich, Feb 1558; d Winterthur, March 27, 1614).

Swiss glass painter, woodcut designer, etcher, book illustrator and writer. He was the son and pupil of the glass painter and councillor Jos Murer (1530–80), founder of a family of artists who lived in Zurich in the 16th and 17th centuries. In 1577 he collaborated with his father on a cycle of 13 pairs of panes representing Thirteen Historic Scenes of the Swiss Confederation for the Zisterzienkloster of Wettingen, Aargau. Christoph’s monograms (sm, stm) are on three panes. He probably followed this work with study travels. In 1579 he designed a cycle of panes in Basle for the well-known citizen Leonhard Thurneysser (1531–96), celebrating the adventurous life of this much-travelled goldsmith, alchemist, astrologer and personal physician to the Elector of Brandenburg. Of the original cycle, two paintings, including the Birth of Leonhard Thurneysser of Basle in 1531 (1579; Basle, Öff. Kstsamml.), and two design sketches (?...

Article

Feliciano Benvenuti

(b Vicenza, fl late 16th century–early 17th).

Italian painter and printmaker. There is little biographical information about him. His birthplace has been inferred from the signature giosepe. scolari. vecentino. f. on the print of the Man of Sorrows. He was a member of the Arte dei Depentori in Venice between 1592 and 1607. He has been generally considered as a pupil of the painter Giambattista Maganza (c. 1509–86) of Vicenza, although according to others he was a disciple of the Mannerist Giovanni Demio or of Paolo Veronese. Famous in Vicenza for his grisaille frescoes, he also created pictorial works recorded in Venice, as well as at Padua and Verona. Among the Venetian works were four paintings originally in the presbytery of the church of S Luca: a Chastisement of the Serpents, which was executed ‘for nothing, in his youth, in order to make himself known’ (Della pittura veneziana, i (Venice, 1797), p. 295), in S Giovanni Elemosinario; a ...

Article

Jane S. Peters

[Hans]

(fl Nuremberg, 1590; d Nuremberg, March 23, 1611).

German painter, etcher and graphic artist. He became a master sometime before 1597, but his activity as a painter was probably confined to painting coats of arms, not panels. In 1601, in a petition to Emperor Rudolf II, he identified himself as an etcher and citizen of Nuremberg. He must have conducted an active print workshop, because he produced over 7000 etchings. The earliest dated, monogrammed print is 1590. The subjects of his prints range from portraits, genealogical trees, warfare scenes, city views and maps to series of hunts, the months, coats of arms and ornaments. Among them are designs borrowed from such artists as Jost Amman, Jacques Androuet Du Cerceau and Enea Vico. His penchant for ornament is reflected in his two most enduring graphic projects, needlework patterns and heraldry. His two needlework books (1597, 1604) replaced their cumbersome woodcut predecessors with delicate tonal etchings and are considered among the best of their genre. His ...

Article

Charles Talbot

[Niklas]

(fl c. 1520; d Nuremberg, 1562–3).

German woodcut designer and illustrator. He is thought to have trained with Hans Springinklee. In 1537 he was paid the second highest amount among five artists for their work on the decorations of the Haller Album (Nuremberg, Staatsarchv), an illustrated book of portraits and family heraldry. However, his authorship of woodcuts, which constitute the principal body of work attributed to him, is based on only two initialled prints, the two-part Cavalry Battle and the Mounted Captain and Two Landsknechts (Geisberg, nos 1392 and 1372). These signatures are not identical: in the first the initials appear side by side, in the second they are overlapped as a monogram.

On the basis of these two works, c. 124 woodcuts have been attributed to Stör that were previously assigned to Erhard Schön, with whom Stör had presumably worked in close association. The 46 small illustrations for a Bible (Nuremberg, 1530) published by ...

Article

Paola Pacht Bassani

(b Tours, May 19, 1593; d Paris, May 10, 1670).

French painter, printmaker and illustrator . Born into a prosperous family in Tours, he received his early training in Paris, probably in Jacob Bunel’s studio. In 1609–10 he travelled to Rome; although his presence there is recorded only in 1618–20, he was probably based there throughout that decade, becoming a member of the community of young French artists that included Simon Vouet and Valentin de Boullogne. They were all predominantly influenced by the art of Caravaggio and of his most direct follower Bartolomeo Manfredi. Vignon’s severe half-length figures (St Paul, Turin, Gal. Sabauda; Four Church Fathers, on loan to Cambridge, Fitzwilliam), executed possibly even earlier than 1615, are in a Caravaggesque style, as are his paintings of singers, musicians and drinkers (e.g. the Young Singer, Paris, Louvre), although the latter group owes more to the style of contemporary genre painting. However, Vignon was already showing an interest in new artistic experiments, the origins of which were northern, Venetian and Mannerist. His sensitivity to the splendid colouring of Venice and to the art of Jacques Bellange, Georges Lallemand and Jacques Callot is manifest in his ...

Article

Blanca García Vega

(b Lyon, 1498; d ?France, c. 1552).

French printmaker. He was the son of a Lyonnais printer and an important illustrator and designer of engraved decoration. He was active throughout Spain from 1534, when his signature i. d. v. began to appear on woodcuts the style of which was still imbued with the Gothic tradition of Provence. In 1547 in Saragossa he signed a contract with the calligrapher and writer Juan de Iciar, for whom he illustrated the frontispieces of several works including Recopilación intitulada, orthographia practica (Saragossa, 1548), which contains a fine portrait of the author. They also collaborated on Arte subtilisima por la qual se enseña a escrivir perfectamente (Saragossa, 1550). From 1552 he was active in Pau in the south of France. His engravings for the borders of books, frontispieces and coats of arms were very popular and his work was widely disseminated and used in the mid–16th century. His style was Italianate rather than Germanic, but he made use of models by Holbein in his designs for initial letters....

Article

Ilse O’Dell-Franke

(b ?1498; d Nuremberg, Feb 25, 1572).

German goldsmith, etcher and draughtsman . He was documented in Nuremberg in 1554, when he applied for citizenship, but was probably there earlier, as his main ornamental work, Novum opus craterographicum (a series of 31 etchings of vessels, attributed to him on stylistic grounds), was printed there in 1551. The ornamental details (such as castings from nature) in these prints suggest a goldsmith’s training. A smaller series of 22 etchings also contains models for brooches, daggers etc. The separate scrollwork title page bears the date 1553 and his full name.

In 1559 Zündt was recorded as an assistant of Wenzel Jamnitzer, who sent him to Prague to work on a table fountain, noting in a letter to Archduke Ferdinand of the Tyrol (1529–95) that Zündt was industrious but used foul language. Nothing is known of Zündt’s work for Ferdinand, nor of any other goldsmith’s work by him, though in ...