Published in conjunction with an exhibit of works by engraver Hendrick Goltzius (1558-1617) and sculptor Willem Danielsz van Tetrode, probably born in Delft around 1525, that showed at various museums in the US between October 2001 and May 2002. There is no index. Distributed in the US by Yale University Press. Annotation c. Book News, Inc., Portland, OR (booknews.com)

Hendrick Goltzius? 1558 in dem niederrheinischen Ort Bracht bei Venlo geboren? ging 1577 mit seinem im Xantener Exil lebenden lehrer, dem niederländischen Philosophen, Schriftsteller und Kupferstecher Dirck Volckertsz. Coornhert (1522?1590) nach Haarlem. Dort machte sich Goltzius alsbald selbstständig und gründete 1582 einen eigenen Verlag, der schnell mit Spitzenprodukten der Druckgraphik hervortrat und sich länderübergreifend einen Namen machte. Basis hierfür war Goltzius? technische Brillanz und Virtuosität in der Handhabung des Kupferstichs, aber auch des Farbholzschnittes. In seinen sog.?Meisterstichen? stellte er sein technisches Vermögen unter Beweis, indem er Meisterwerke der Renaissance in der Handschrift Dürers, van Leydens, Tizians, Bassanos oder Barroccis täuschend echt nachahmte. Bei diesen Blättern, wie auch bei seinen eindrucksvollen eigenen Bilderfindungen, ging es jedoch nicht nur um bloße Reproduktion oder um Nachahmertum eines Eklektizisten, sondern um kreative Invention. Fast sämtliche Graphiken weisen neulateinische Epigramme von Humanisten auf, die mit moralischen Botschaften die Bilder kommentieren.00Exhibition: Anhaltische Gemäldegalerie, Dessau, Germany (10.11.2017-07.01.2018).

Discusses the significance and history of printmaking and evaluates 700 prints.

This exhibition is a once-in-a-lifetime opportunity to see around 100 exceptional drawings created using the exquisite metalpoint technique. It features works by some of the greatest artists working from the late 14th century to the present including Rogier van der Weyden, Petrus Christus, Leonardo da Vinci, Raphael, Albrecht Dürer, Hans Holbein the Elder, Lucas van Leyden, Rembrandt, Edward Burne-Jones, William Holman Hunt, Otto Dix, Jasper Johns and Bruce Nauman. Works drawn from the British Museum's superb collection of metalpoint drawings sit alongside major loans from European and American museums as well as private collections, including four sheets by Leonardo da Vinci from the Royal Collection.--British Museum website.

This volume examines how and why many early modern pictures operate in an ekphrastic mode.

Genoa completed its transformation from a faded maritime power into a thriving banking center for Europe in the seventeenth century. The wealth accumulated by its leading families spurred investment in the visual arts on an enormous scale. This volume explores how artists both foreign and native created a singularly rich and extravagant expression of the baroque in works of extraordinary variety, sumptuousness, and exuberance. This art, however, has remained largely hidden behind the facades of the city's palaces, with few works, apart from those by the school's great expatriates, found beyond its borders. As a result, the Genoese baroque has been insufficiently considered or appreciated.0Lavishly illustrated, 'A Superb Baroque' is comprehensive, encompassing all the major media and participants. Presented are some 140 select works by the celebrated foreigners drawn to the city and its flourishing environment. Offering three levels of exploration-essays that frame and interpret, section introductions that characterize principal currents and stages, and texts that elucidate individual works-this volume is by far the most extensive study of the Genoese baroque in the English language.00Exhibition: National Gallery of Art, Washington, DC, USA (03.05.-16.08.2020) / Scuderie del Quirinale, Rome, Italy (03.10.2020 - 10.01.2021).

"...works of Netherlandish and Italian printmaking from the Renaissance and Baroque eras. ... The prints ... feature imagery that revolves around the mythology of Classical Antiquity..."--page 5.

A significant new interpretation of the emergence of Western pictorial realism When Jan van Eyck (c. 1390–1441) completed the revolutionary Ghent Altarpiece in 1432, it was unprecedented in European visual culture. His novel visual strategies, including lifelike detail, not only helped make painting the defining medium of Western art, they also ushered in new ways of seeing the world. This highly original book explores Van Eyck’s pivotal work, as well as panels by Rogier van der Weyden and their followers, to understand how viewers came to appreciate a world depicted in two dimensions. Through careful examination of primary documents, Noa Turel reveals that paintings were consistently described as au vif: made not “from life” but “into life.” Animation, not representation, drove Van Eyck and his contemporaries. Turel’s interpretation reverses the commonly held belief that these artists were inspired by the era’s burgeoning empiricism, proposing instead that their “living pictures” helped create the conditions for empiricism. Illustrated with exquisite fifteenth-century paintings, this volume asserts these works’ key role in shaping, rather than simply mirroring, the early modern world.