Boldrini or Britti attr. after Titian | Landscape with a Milkmaid

According to Rosand and Muraro, this work was executed sometime in the 1520s by Nicolo Boldrini, to whom Titian may have provided drawings. Other scholars, such as Caroline Karpinski, suggest a slightly later later. I include it here as an example of how Titian was unique in the first half of the Cinquecento in Venice to recognise and successfully exploit the printed medium to disseminate his designs. LITERATURE CITED Karpinski, Caroline. “Review: Titian and the Venetian Woodcut by David Rosand and Michelangelo Muraro: Tiziano e la    silografia veneziana del cinquecento (Fondazione Giorgio Cini) by Michelangelo Muraro and David Rosand.” The Art Bulletin 59, no. 4 (1977): 637. Rosand, David and Michelangelo Muraro. Titian and the Venetian Woodcut. Washington D.C., 1975

Ugo da Carpi | Hero and Sibyl

  BIBLIOGRAPHY Landau, David and Peter Parshall. The Renaissance Print: 1470 – 1550. New Haven: Yale University Press, 1994. Especially chapter IV, “Titian, Parmigianino, and Rosso, and their Collaboration with Ugo da Carpi, Caraglio, and Antonio da Trento, pp. 146 – 154.  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. Parshall, Peter. “Ugo da Carpi, Raphael and his Mistress and The Odyssey: A Reinterpretation.” Print Quarterly  26, no. 2 (2019): 160 – 162. To view, click here. Takahatake, Naoko. The Chiaroscuro Woodcut in Renaissance Italy. Los Angeles: Los Angeles County Museum of Art, 2018. Cat 18.   ADDITIONAL READING Bialler, Nancy. Chiaroscuro Woodcuts: Hendrick Goltzius (1558 – 1617) and his Time. Ghent: Snoeck-Fucaju & Zoon: The first chapter is a brief introduction to the international chiaroscuro woodcut, and considers the works of Ugo alongside northern counterparts. To view, click here.