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080094 SE Seminar: Chiaroscuro Woodcuts in the Sixteenth Century (2013W)
Continuous assessment of course work
Labels
Vorbesprechung am DO 10.10.2013, 09:00 Uhr im Seminarraum 1; weiterer Termin am DO 21.11.2013, 09:00 Uhr im Seminarraum 1; das Seminar findet Ende November in der Albertina statt
Referatsthemen:
1. Die Technik des Clair-obscur-Holzschnitts (Anfänge des Farbdruck, Herstellung der Holzschnitte, Abfolge der Druckplatten, Art der Übertragung der Komposition)
2. Lucas Cranach und Hans Burgkmair
3. Hans Wechtlin
4. Hans Baldung Grien
5. Formschneider im Kreis von Albrecht Dürer (Hans Weiditz, Hans Sebald Beham)
6. Ugo da Carpi
7. Antonio da Trento und Niccolò Vicentino
8. Beccafumi
9. Formschneider in Bologna (Alesandro Gandini, Meister NDB)
10. Der Clair-obscur-Holzschnitt in Venedig (Niccolò Boldrini...)
11. Der Clair-obscur-Holzschnitt in Deutschland in der zweiten Jahrhunderthälfte (Erasmus Loy, Tobias Stimmer, Georg Matheus)
12. Der Clair-obscur-Holzschnitt in den Niederlanden in der zweiten Jahrhunderthälfte (Adriaen Thomasz. Key, Frans Floris, Cirspijn van den Broeck)
13. Hendrick Goltzius
14. Andrea Andreani in Florenz
15. Andrea Andreani in Siena und Mantua
Referatsthemen:
1. Die Technik des Clair-obscur-Holzschnitts (Anfänge des Farbdruck, Herstellung der Holzschnitte, Abfolge der Druckplatten, Art der Übertragung der Komposition)
2. Lucas Cranach und Hans Burgkmair
3. Hans Wechtlin
4. Hans Baldung Grien
5. Formschneider im Kreis von Albrecht Dürer (Hans Weiditz, Hans Sebald Beham)
6. Ugo da Carpi
7. Antonio da Trento und Niccolò Vicentino
8. Beccafumi
9. Formschneider in Bologna (Alesandro Gandini, Meister NDB)
10. Der Clair-obscur-Holzschnitt in Venedig (Niccolò Boldrini...)
11. Der Clair-obscur-Holzschnitt in Deutschland in der zweiten Jahrhunderthälfte (Erasmus Loy, Tobias Stimmer, Georg Matheus)
12. Der Clair-obscur-Holzschnitt in den Niederlanden in der zweiten Jahrhunderthälfte (Adriaen Thomasz. Key, Frans Floris, Cirspijn van den Broeck)
13. Hendrick Goltzius
14. Andrea Andreani in Florenz
15. Andrea Andreani in Siena und Mantua
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Mo 16.09.2013 10:00 to Th 26.09.2013 14:00
- Deregistration possible until Mo 14.10.2013 14:00
Details
max. 15 participants
Language: German
Lecturers
Classes
Currently no class schedule is known.
Information
Aims, contents and method of the course
In 1507 Lucas Cranach was the first to adopt the new Chiaroscuro woodcut technique in his print Saint George and subsequently the technique was used by Hans Burgkmair in Augsburg and Hans Baldung Grien aund Hans Wechtlin in Straßburg. Some years later the technique was introduced by Ugo da Carpi in Italy and further developed by his pupils Antonio da Trento and Niccolò Vicentino. Masterpieces were created by Beccafumi and Andrea Andreani. In the Netherlands its was mainly Hendrick Goltzius who brought the Chiaroscuro woodcut technique to a specific refinement. The Seminary treats the beginnings and the further development of the new technique in the Sixteenth century parallel to an exhibition in the Albertina, dedicatetd to the theme.
Assessment and permitted materials
The papers have to be carried forward verbally in front of the originals in the exhibition and have subsequently to be elaborated in a written form. The granding depends not only on the written papers but also on the acticve verbally collaboration during the seminar.
Minimum requirements and assessment criteria
In the seminary are treated all the artists who adpoted the new Chairoscuro woodcut technique. It shall be given a profound overview of this specific technique and it will be clarified which role played this technique in the work of the single artist. It shall further be clarified which preparatory material the artists used for their woodcuts and how this was transferred to the woodblcks. Furthermore it will be treated the stylistic characteristics of the works in the different countries and their stylistic development during the sixteenth century.
Examination topics
As the seminary wil take place in the exhibition in the Albertina all relevant questions will be clarified starting from the original prints which guarantees a more profound examination of the issue. Furthermore the Chiaroscuro woodcuts can directly be confronted with the other prints in the exhibition. As the exhibition gives the outstanding oppotunity of an overview over the Chiaroscuro technique in the sixteenth century it can be expected that the papers will lead to new scientific results and give new impulses for further engagment with this theme.
Reading list
Bartrum, 1995
Giulia Bartrum, German Renaissance Prints 1490-1550, London 1995.Braunschweig, 2003-2004
Von Cranach bis Baselitz. Meisterwerke des Clairobscur-Holzschnitts, Ausst. Kat. berab. v. K. Kemmer und J. Kohn, Herzog Anton Ulrich-Museum Braunschweig 2003 – 2004.Bury, 2001
Michael Bury, The Print in Italy 1550-1620, London 2001.Carpi, 2009
Ugo da Carpi, l´opera incisa. Xilografie e chiaroscuri da Tiziano, Raffaello e Parmigianino, Ausst. Kat. bearb. v. M. Rossi, Loggia di primo ordine di Palazzo dei Pio, Carpi 2009.Goldfarb, 1981
Hilliard T. Goldfarb, “Chiaroscuro woodcut technique and Andrea Andreani”, in: The Bulletin of the Cleveland Museum of Art, Cleveland, Ohio, 68, 1981, S. 307-330.Jecmen, 2012-2014
Gregory Jecmen, „Color Printing and tonal etching: innovative techniques in the imperial city, 1487-1536“, in: Imperial Augsburg: Renaissance Prints and Drawings 1475-1540, Ausst. v. Gregory Jecmen und Freyda Spira, National Gallery of Art, Washington, Jack S. Blanton Museum of Art at the University of Texas at Austin, Frances Lehman Loeb Art Center at Vassar College, 2012-2014, S. 67-101.Jenkins, 2013
Catherine Jenkins, „The Chiaroscuro Woodcuts of the Master ND at Fontainebleau“, in: Print Quarterly, vol. XXX, number 2, 2013, S. 131-143.Johnson, 1982
Jan Johnson, "I chiaroscuri di Ugo da Carpi", in: Print Collector, Il conoscitore di stampe, III-IV, Nr. 57-58, 1982, S. 2 - 87.Karpinksi, 1976
Caroline Karpinski, „Le Maitre ND de Bologne”, in: Nouvelles de l´estampe, 26, 1976, S. 23-27.Karpinksi, 1983
Caroline Karpinski, The Illustrated Bartsch, 48, formerly volume 12. Italian Chiaroscuro Woodcuts, New York 1983.Karpinski, 2001
Caroline Karpinksi, „Mantegna´s Triumphs in Andreani´s form“, in: Apollo, 153, 2001, S. 39-64.Klein, 2006-2007
Alice Klein, Hans Wechtlin Peinte et Graveur à Strasbourg à la veille de la Réforme, 2 Bde., Université de Strasbourg Marc Bloch Faculté d´Histoire de l´Art, 2006–2007.Landau und Parshall, 1994
David Landau und Peter Parshall, The Reniassance Print 1470-1550, New Haven und London 1994.Matile, 2003
Michael Matile, Italienische Holzschnitte der Renaissance und des Barock. Bestandskatalog der Graphischen Sammlung der ETH Zürich, Basel 2003.Reichel, 1926
Anton Reichel, Die Clair-Obscur-Schnitte des XVI., XVII. und XVIII. Jahrhunderts, Zürich-Leipzig-Wien 1926.Rom, Weimar und München, 2001-2003
Chiaroscuro. Italienische Farbholzschnitte der Renaissance und des Barock, Ausst. Kat. bearb. v. H. Mildenberger und D. Graf, Casa di Goethe, Rom, Kunstsammlungen zu Weimar, Haus der Kunst, München, 2001-2003.Servolini, 1977
Luigi Servolini, Ugo da Carpi. I chiaroscuri e le altre opere, Florenz 1977.Siena, 1990
Domenico Beccafumi e il suo tempo, Ausst. Kat. Siena 1990.Strauss, 1973
Walter L. Strauss, Clair-Obscur. Der Farbholzschnitt in Deutschland und den Niederlanden im 16. Und 17. Jahrhundert, Nürnberg 1973.Takahatake, 2010
Naoko Takahatake, „Ugo. Ugo da Carpi, l´opera incisa: Xilografie e chiaroscuri da Tiziano, Raffaello & Parmigianino... (Rez.)“, in: Print Quarterly, vol. 27, number 3, 2010, S. 317-321.Lincoln, 2000
Evelyn Lincoln, The Invention of the Italian Renaissance Printmaker, New Haven und London 2000.Tokyo, 2005
Chiarsocuro Woodcuts from the Frits Lugt Collection in Paris, Ausst. Kat. v. Akira Kofuku und Shinsuke Watanabe, Katalobeiträge v. Erik Hinterding, The National Museum of Western Art, Tokyo 2005.Trotter, 1974
William Henry Trotter, Chiaroscuro woodcuts of the circles of Raphael and Parmigianino: a study in reproductive graphics, PhD., The University of North Carolina at Chapel Hill, 1974 (Faksimile Reproduktion 1976).
Giulia Bartrum, German Renaissance Prints 1490-1550, London 1995.Braunschweig, 2003-2004
Von Cranach bis Baselitz. Meisterwerke des Clairobscur-Holzschnitts, Ausst. Kat. berab. v. K. Kemmer und J. Kohn, Herzog Anton Ulrich-Museum Braunschweig 2003 – 2004.Bury, 2001
Michael Bury, The Print in Italy 1550-1620, London 2001.Carpi, 2009
Ugo da Carpi, l´opera incisa. Xilografie e chiaroscuri da Tiziano, Raffaello e Parmigianino, Ausst. Kat. bearb. v. M. Rossi, Loggia di primo ordine di Palazzo dei Pio, Carpi 2009.Goldfarb, 1981
Hilliard T. Goldfarb, “Chiaroscuro woodcut technique and Andrea Andreani”, in: The Bulletin of the Cleveland Museum of Art, Cleveland, Ohio, 68, 1981, S. 307-330.Jecmen, 2012-2014
Gregory Jecmen, „Color Printing and tonal etching: innovative techniques in the imperial city, 1487-1536“, in: Imperial Augsburg: Renaissance Prints and Drawings 1475-1540, Ausst. v. Gregory Jecmen und Freyda Spira, National Gallery of Art, Washington, Jack S. Blanton Museum of Art at the University of Texas at Austin, Frances Lehman Loeb Art Center at Vassar College, 2012-2014, S. 67-101.Jenkins, 2013
Catherine Jenkins, „The Chiaroscuro Woodcuts of the Master ND at Fontainebleau“, in: Print Quarterly, vol. XXX, number 2, 2013, S. 131-143.Johnson, 1982
Jan Johnson, "I chiaroscuri di Ugo da Carpi", in: Print Collector, Il conoscitore di stampe, III-IV, Nr. 57-58, 1982, S. 2 - 87.Karpinksi, 1976
Caroline Karpinski, „Le Maitre ND de Bologne”, in: Nouvelles de l´estampe, 26, 1976, S. 23-27.Karpinksi, 1983
Caroline Karpinski, The Illustrated Bartsch, 48, formerly volume 12. Italian Chiaroscuro Woodcuts, New York 1983.Karpinski, 2001
Caroline Karpinksi, „Mantegna´s Triumphs in Andreani´s form“, in: Apollo, 153, 2001, S. 39-64.Klein, 2006-2007
Alice Klein, Hans Wechtlin Peinte et Graveur à Strasbourg à la veille de la Réforme, 2 Bde., Université de Strasbourg Marc Bloch Faculté d´Histoire de l´Art, 2006–2007.Landau und Parshall, 1994
David Landau und Peter Parshall, The Reniassance Print 1470-1550, New Haven und London 1994.Matile, 2003
Michael Matile, Italienische Holzschnitte der Renaissance und des Barock. Bestandskatalog der Graphischen Sammlung der ETH Zürich, Basel 2003.Reichel, 1926
Anton Reichel, Die Clair-Obscur-Schnitte des XVI., XVII. und XVIII. Jahrhunderts, Zürich-Leipzig-Wien 1926.Rom, Weimar und München, 2001-2003
Chiaroscuro. Italienische Farbholzschnitte der Renaissance und des Barock, Ausst. Kat. bearb. v. H. Mildenberger und D. Graf, Casa di Goethe, Rom, Kunstsammlungen zu Weimar, Haus der Kunst, München, 2001-2003.Servolini, 1977
Luigi Servolini, Ugo da Carpi. I chiaroscuri e le altre opere, Florenz 1977.Siena, 1990
Domenico Beccafumi e il suo tempo, Ausst. Kat. Siena 1990.Strauss, 1973
Walter L. Strauss, Clair-Obscur. Der Farbholzschnitt in Deutschland und den Niederlanden im 16. Und 17. Jahrhundert, Nürnberg 1973.Takahatake, 2010
Naoko Takahatake, „Ugo. Ugo da Carpi, l´opera incisa: Xilografie e chiaroscuri da Tiziano, Raffaello & Parmigianino... (Rez.)“, in: Print Quarterly, vol. 27, number 3, 2010, S. 317-321.Lincoln, 2000
Evelyn Lincoln, The Invention of the Italian Renaissance Printmaker, New Haven und London 2000.Tokyo, 2005
Chiarsocuro Woodcuts from the Frits Lugt Collection in Paris, Ausst. Kat. v. Akira Kofuku und Shinsuke Watanabe, Katalobeiträge v. Erik Hinterding, The National Museum of Western Art, Tokyo 2005.Trotter, 1974
William Henry Trotter, Chiaroscuro woodcuts of the circles of Raphael and Parmigianino: a study in reproductive graphics, PhD., The University of North Carolina at Chapel Hill, 1974 (Faksimile Reproduktion 1976).
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Last modified: Mo 07.09.2020 15:31