Anonymous Italian | The Inferno
da Brescia after Mantegna | Holy Family
BIBLIOGRAPHY Hind, Arthur M. Early Italian Engraving: A Critical Catalogue with Complete Reproduction of All the Prints Described. Vol 5. London: Bernard Quaritch, 1948. pp. 33-54. Print. Landau, David and Peter Parshall. The Renaissance Print: 1470 – 1550. New Haven: Yale University Press, 1994 (Digitised on SOLO: not a huge amount on Giovanni Antonio, but enough to get an idea of his influence). Levinson, Jay A. Early Italian engravings from the National Gallery of Art. Washington: National Gallery of Art, 1973. pp. 235 – 264. (You can access the relevant pages by clicking here. Probably the best place to start).
Colonna | Hypnerotomachia Poliphili
Mantegna | Battle of the Sea Gods
BIBLIOGRAPHY Christiansen, Keith. The Genius of Andrea Mantegna. New Haven: Yale University Press, 2010. pp. 47 – 63. Digitised on the Metropolitan Museum Website. Landau, David and Peter Parshall. The Renaissance Print: 1470 – 1550. New Haven: Yale University Press, 1994. Chapter III, “The Development of a Tonal System” and “The Market.” Digitised on SOLO. Lincoln, Evelyn. The Invention of the Italian Renaissance Printmaker. New Haven: Yale University Press, 2000. See Chapter 2 for the development of the chiaroscuro woodcut in Italy. Digitised on SOLO. Oberhuber, Konrad. “Mantegna and the Role of Prints: A Prototype for Artistic Innovation in the North and the South.” In Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Titan and Durer. Edited by Bernard Aikema, Beverly Louis Brown. Milan: Biompiani, 1999. Click here to access. Simons, Patricia. “Mantegna’s Battle of the Sea Gods: the material and thematic interaction of print and sculpture.” In Prints in Translation, 1450 – 1750: Image, Materiality, Space. Edited by Suzanne Karr Schmidt and Edward H Wouk. Abingdon: Routledge, 2017: 89 – 113. Digitised on SOLO. FURTHER READING Boorsch, Suzanne and David Landau. “Mantegna and Prints.” The Burlington Magazine 135, no. 1089 (1993): 826 – 828. Response to Christiansen article below. Digitised on JSTOR. Christiansen, Keith. “The Case for Mantegna as Printmaker.” The Burlington Magazine 135, no. 1086 (1993): 604 – 612. Digitised on JSTOR. Emison, Patricia Anne. “Invention and the Italian Renaissance print, Mantegna to Parmigianino.” PhD Thesis: Columbia University, 1985. Chapter 1, “Andrea Mantegna as Print Engraver.” Digitised on SOLO. Fletcher, Shelly. “A Closer Look at Mantegna’s Prints.” Print Quarterly 18, no. 1 (2001): 3 – 41. Digitised on JSTOR. Flowler, Caroline O. ” ‘Res Papirea’: Mantegna’s Paper Things.” The Art Bulletin 99, no. 1 (2017): 8 – 35. Digitised on JSTOR.
Florentine School | Children at the vintage, with the story of Theseus and Ariadne
Baldini | The Moon
BIBLIOGRAPHY Cropper, Elizabeth. Florentine drawing at the time of Lorenzo the Magnificent: papers from a colloquium held at the Villa Spelman, Florence. Bologna: Nuova Alfa Editoriale, 1992. pp. 181 – 196. Print. Levinson, Jay A. Early Italian engravings from the National Gallery of Art. Washington: National Gallery of Art, 1973. (To access the relevant pages, click here. Probably the best place to start). Phillips, John Goldsmith. Early Florentine designers and engravers: Maso Finiguerra, Baccio Baldini, Antonio Pollaiuola, Sandro Botticelli and Francesco Rosselli. Cambridge, MA: Harvard University Press, 1995. Digitised on SOLO. FURTHER READING Whitaker, Lucy. “Maso Finiguerra and early Florentine printmaking.” In Drawing 1400–1600: Invention and Innovation. Edited by Stuart Currie. Aldershot: Ashgate, 1998. Print
Pollaiuolo | The Battle of the Nudes
Many major museums have a version of the print digitised and catalogued. It’s worth reading some of these short, but highly informative entries. A particularly useful catalogue note can be found on the Cleveland Museum website. A separate conservation site dedicated to the Cleveland sheet is packed with useful information, and can be accessed by clicking here. In particular, the section titled “Engravings, impressions and states” is a helpful guide for the terminology used by print historians, and for how a print is examined and written about by art historians and conservators today. For a brief introductory video on the work click here. BIBLIOGRAPHY Landau, David and Peter Parshall. Renaissance Print, 1470 – 1550. New Haven: Yale University Press, 1994. Chapter III, “The Development of a Tonal System,” pp. 73-74. Digitised on SOLO. Langdale, Shelley R. Battle of the Nudes: Pollaiuolo’s Renaissance Masterpiece. Cleveland: Cleveland Museum of Art, 2003 Lincoln, Evelyn. The Invention of the Italian Renaissance Printmaker. New Haven: Yale University Press, 200: pp. 30 – 31. Digitised on SOLO. Oldzewski, Edward J. “Bring on the Clones: Pollaiuolo’s Battle of Ten Nude Men.” Artibus et Historiae 30, no. 60 (2009): 9 – 38. Digitised on JSTOR. FURTHER READING Evans, Mark L. “Pollaiuolo, Dürer and the Master IAM van Zwolle.” Print Quarterly 3, no. 2 (1986): 109 – 116. Digitised on JSTOR. Landau, David. “Review: Battle of the Nudes: Pollaiuolo’s Renaissance Masterpiece by Shelley R. Langdale.” Print Quarterly 20, no. 4 (2004): 408 – 412. Digitised on JSTOR. Levenson, Jay A., Konrad Oberhuber, and Jacquelyn L. Sheehan, Early Italian engravings from the National Gallery of Art. Washington: The National Gallery, 1973. Cat. 13. Print. Spangenberg, Kristin L. Six centuries of master prints: treasures from the Herbert Greer French collection. Cincinnati : Cincinnati Art Museum, 1993. Cat. 16. Print.
De Barbari | Apollo and Diana
(POSSIBLE ALTERNATIVE TO GIULIO CAMPAGNOLA) De’ Barbari’s engraving shows Apollo in his role as sun god, in the moment when night, symbolised by Apollo’s sister Diana, goddess of the moon, give way to day. Although best known for his monumental map of Venice, de’ Barbari regularly explored mythological subjects in the format of small, delicate engravings. He worked in Venice during the final decade of the Quattrocento, moving to Germany in c. 1500 where he came into contact with Dürer. As with his near contemporary, Giulio Campagnola, de’ Barbari was a learned man, and a participant within humanist discourse of the period. Contemporary to the present sheet, which was likely executed in c. 1505, he wrote a treatise on the nobility of painting for Frederick the Wise, elector of Saxony. For the print room visit, this sheet could be used to address: The influence of and dialogue between Dürer and Venetian artists at around the turn of the fifteenth century The influence of Mantegna’s style on the next generation of Venetian artists Interest in idealised human proportions in early sixteenth-century engravings, and the links between this subject and architecture The stylistic importance of de’ Barbari engravings The development and dissemination of Italian / Venetian engraving styles across Europe