Tag: engravings

Albrecht Dürer – Washington D.C. – USA

Albrecht Dürer - Abduction on a Unicorn

Albrecht Dürer – Abduction on a Unicorn, 1516 – etching (iron) – Meder, no. 67- Rosenwald Collection


From March 24 to June 9, 2013 – National Gallery of Art

Master Drawings, Watercolors, and Prints from the Albertina
Albrecht Dürer (1471–1528) has long been considered the greatest German artist, uniquely combining the status held in Italian art by Michelangelo in the sixteenth century, by Raphael in the 18th and 19th centuries, and by Leonardo da Vinci in our own day.

While Dürer’s paintings were prized, his most influential works were his drawings, watercolors, engravings, and woodcuts. They were executed with his distinctively northern sense of refined precision and exquisite craftsmanship. The finest collection of Dürer’s drawings and watercolors is that of the Albertina in Vienna, Austria.

Albrecht Dürer - Portrait of a Clergyman (Johann Dorsch?), 1516 - oil on parchment on fabric painted surface: 41.7 x 32.7 cm (16 7/16 x 12 7/8 in.) Samuel H. Kress Collection

Albrecht Dürer – Portrait of a Clergyman (Johann Dorsch?), 1516 – oil on parchment on fabric painted surface: 41.7 x 32.7 cm (16 7/16 x 12 7/8 in.) Samuel H. Kress Collection

The Albertina’s works by Dürer have been acquired over many years, but the museum’s ability to amass such a collection of masterpieces results from primary sources that go directly back to the Holy Roman Emperor Rudolf II. Dürer was his favorite artist, and the emperor spared no expense in searching for Dürer’s art. He used imperial ambassadors and the machinery of state to succeed in his purchases, among them extraordinary acquisitions from the Imhoff family in Nuremberg, whose works included Dürer’s personal estate.

This groundbreaking exhibition is a culmination of decades of acquisition, study, and exhibitions of early German art at the National Gallery of Art. It presents 91—including most—of the superb Dürer watercolors and drawings from the Albertina and 27 of the museum’s best related engravings and woodcuts. It also includes 19 closely related drawings and prints from the Gallery’s own collection.

National Gallery of Art


2012 Lille Art Fair – Lille – France

Bruno Timmermans - "Winehouse +" 2011 - Photographie sous Diasec. (Booth F9) Courtesy Mazel Galerie - Bruxelles


From 12 to 15 April 2012 – Lille Grand Palais

With over 15,000 visitors in 2011, Lille Art Fair has become an essential contemporary art event held in the heart of the Paris-Brussels-London triangle.
Variety of methods of expression, diversity of galleries and artists and sheer artistic wealth of the event are the main ingredients making Lille Art Fair an essential cultural event.

Lille Art Fair attracts visitors looking to buy and keen to make the most of the event made up of collectors, knowledgeable art lovers and newcomers to the world of art are all looking forward to the 5th Lille Art Fair taking place from 12 to 15 April 2012 that promises to be a great experience for all concerned!

Buoyed by its success, the 5th Lille Art Fair will bring together 100 galleries and publishers from many different countries in an 8,000 m² showcase.
Paintings, drawings, sculpture, video, engravings, ceramics, photos, etc., -all forms of art will be represented even more than ever before.

Julianne Rose “FLESH & PLASTIC N°2”, 2006, PHOTOGRAPHIE C-PRINT CONTRE COLLÉ SUR ALUMINIUM, SOUS DIASEC, DIPTYQUE, 80 X 120 CM


-T
he Print Art Fair features the representatives of art printing techniques: lithography, engraving, screen printing, digigraphics, artist’s books, and more…
– The Video Art Fair, is a new addition to the 2011 fair, highlighting a contemporary form of expression so as to discover new talents and specialised galleries.
– La Nuit de l’Art (“The Art Night”), will be an exceptional evening where each exhibitor invites their artists to come and meet the public for a performance, signing session, or other activities and happenings.

The region’s artistic and cultural organisation complete the offering from galleries and publishers. Totally new works by French and European artists will thus be presented to visitors.

Fair Hours


Altered and Adorned: Using Renaissance Prints in Daily Life – Chicago – IL.

The Master of the Very Small Hours of Anne of Brittany (Master of the Unicorn Hunt). The Nativity, in coffer, c. 1490. George F. Harding Deaccessions Fund; Restricted gift of Mr. and Mrs. William Vance; The Amanda S. Johnson and Marion J. Livingston Fund.


From April 30 through July 10, 2011 – Art Institute of Chicago

Today’s scrapbookers weren’t the first to abuse paper products––Renaissance print owners were regular vandals who cut, pasted, adored, and adorned their personal print collections, the same ones that are stored in museum vaults today. The exhibition Altered and Adorned: Using Renaissance Prints in Daily Life takes a long-overdue look at these well-handled works, demonstrating how their condition today reflects their various uses and functions in the past. Filling the museum’s Jean and Steven Goldman Prints and Drawings Galleries in the Richard and Mary L. Gray Wing (Galleries 124–127), Altered and Adorned features more than 100 rare and never before-seen printed objects and objects with printed components from the Art Institute’s permanent collection, as well as a selection of treasures from other Chicago institutions.
Altered and Adorned investigates the ways in which woodcuts, engravings, and etchings functioned in European society from the late 15th through early 17th centuries. The exhibition reveals a radically different approach to prints in these centuries. Today, Renaissance prints are prized for their aesthetic importance: the least compromised by time and previous collectors the better. Modern-day viewers are thus used to seeing prints in artificially isolated states, matted in low-light galleries or kept between protective layers of glassine in acid-free solander boxes. But, contrary to popular assumptions, seemingly unused prints of this sort are very rare. Rather, because they were inexpensive and readily available, early prints were not regarded as sacrosanct artworks; many exhibit obvious marks of physical intervention by their users. Even comparatively clean impressions preserved in long-forgotten albums usually bear traces of folding, inscribing, pasting, stamping, or trimming (though such clues may stay hidden on their blank versos). In addition, early prints were not made to last, so their papers and inks have darkened or faded and accumulated stains and tears.
Taking an innovative art historical approach, Altered and Adorned focuses on Renaissance prints as they were used, embracing their imperfections and drawing on a wide range of little-seen examples from the Art Institute’s collection. Exploring the initial functions and original contexts of these prints and printed objects, the exhibition reconstructs the various ways in which owners saw, handled, and used them on a daily basis. Bringing together prints, books, scientific instruments, and additional items at the intersection of prints and other media, Altered and Adorned unearths artworks with printed paper components from the Art Institute as well as from the Loyola University Museum of Art, the Adler Planetarium and Museum, and private collectors. The works exhibited include extremely rare survivors, such as two exceptional 15th-century devotional woodcuts in their original contexts: a French Nativity pasted into an armored traveling coffer and a Man of Sorrows on a book board. Other items range from wallpaper, bookplates, overstuffed print albums, festive printed fans and headdresses, and portable pocket sundials with printed faces to pop-up anatomy broadsheets with myriad flaps for the organs. Altered and Adorned also offers a new perspective on all early prints, for even the seemingly pristine impressions traditionally valued by collectors were in fact used during the Renaissance. For example, Hans Burgkmair’s Equestrian Portrait of the Emperor Maximilian I, a woodcut printed in black and gold on vellum, became a presentation copy at the center of a diplomatic printing competition.
Not yet considered “art” in the modern sense, these versatile printed images belonged to the fabric of ordinary existence at every level of society. Altered and Adorned offers a chance to rediscover the limitless possibilities of this most pervasive and powerful medium.

Museum Hours


Albrecht Dürer and 16th Century German printmaking – Dudenin – New Zealand

26 of June 2010 to 8 of August 2010 – Dudenin Public Art Gallery
Albrecht Dürer is considered one of the greatest printmakers of all time, admired for his technical brilliance and innovation, and for his bold imaginative approach. His work was inspired by the social and religious upheavals of the Protestant Reformation, by classical stories, and by his own interpretation of Biblical texts. Dürer bridged the gap between the Gothic tradition of art in northern Europe and the new ideas of the Renaissance in the south, and drew on both influences in his printmaking. In his woodcuts and engravings he used ‘dynamic calligraphy’ – complex combinations of curved lines that swelled and tapered, and defined light and shade, and surface texture. His system of cross-hatched lines convincingly depicted shape and form, giving the human body a sculptural quality. This exhibition features 26 works from Albrecht Dürer and seven other distinguished German print makers. Developed and presented by the Museum of New Zealand Te Papa Tongarewa  Map

Gallery Hours


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