Sculpture in Print, 1480-1600.

Intro -- Contents -- Figures -- Notes on Contributors -- "Quanto in virtù d'una ingegnosa mano / la fermezza de'marmi ai fogli cede": The Art of Translating Sculpture into Print. An Introduction -- Part 1 Antique Sculpture -- Chapter 1 Aes Incidimus: Early Modern Engraving as Sculpture -- Chapter 2 Transferring Ancient Sculptures into Prints. Marcantonio Raimondi's Quos Ego: Its Prototypes and Afterimages -- Chapter 3 Marcantonio Raimondi and Fragmentary Ancient Statues: Hypotheses on his Working Method and Antiquarian Practice -- Chapter 4 Cherubino Alberti's Engravings after Polidoro da Caravaggio: from Chiaroscuro to Sculpture -- Chapter 5 From Sculpture to Print to Sculpture. Parmigianino, Caraglio and the Mystery of the Barberini Faun -- Part 2 Contemporary Sculpture -- Chapter 6 The Reproduction of Sculpture as Sculpturein 16th Century Prints: Baccio Bandinelli, Giambologna, and Adriaen de Vries -- Chapter 7 The Young Baccio Bandinelli and the Role of Prints at the Beginning of a Sculptor's Career -- Chapter 8 Considering the Viewer in Prints of Michelangelo's Risen Christ: The Cases of Beatrizet and Matham -- Chapter 9 On the Genesis of Antonio Tempesta's Print of Henry ii on Horseback -- Chapter 10 Sculpture's Narrativity in Northern Renaissance Prints -- Chapter 11 Models for Sculptures in Print: Michelangelo's Samson and Two Philistines in Lucas Kilian's Engravings -- Index.

In this first in-depth study dedicated to the intriguing history of the translation of statues and reliefs into print, the essays in this volume reflect the printmakers' various approaches and challenges of translating antique or contemporary artworks, underlining their highly creative handling.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.