First published in 1998, this volume twelve scholars explore ways in which drawings were employed and appreciated in various European Cities form late medieval times, through the Renaissance and Reformation periods and into the early seventeenth century. The essayists examine the relationship between preparatory sketches and finished artworks in more durable and expensive materials, and consider the roles played by various drawing types, such as studies from different kinds of model and student copies from a master’s exemplar. They also investigate how drawings and their mechanically- reproduced equivalents- engravings, etchings and other forms of print – came to be collected for both practical and connoisseurial purposes, and how iconographical and stylistic inventiveness were linked to imaginative artistic interpretations of traditional subjects and to technical innovations in drawing and printmaking. Through diverse approaches to the study of artists’ attitudes and ambitions, the essays in Drawing 1400-1600 offer ways of appreciating the complex and fascinating history of the practice and theory of drawing over two centuries during which the expressive potential of the medium was realized in some of the greatest artistic statements of all time.
Table of Contents
1. Drawing and Design in the Late Fourteenth-Century France: The Case for the Sculptor. Julia Watson. 2. Imitation, Invention or Good Business Sense? The Use of Drawings in a Group of Fifteenth-Century French Books of Horus, Susie Nash. 3. Training and Practice in the Early Renaissance Workshop: Observations on Benozzo Gozzoli’s Rotterdam Sketchbook, Francis Ames-Lewis. 4. Maso Finguerra and Early Florentine Printmaking, Lucy Whitaker. 5. Mantegna and Pullaiuolo: Artistic Personality and the Marketing of Invention, Alison Wright. 6. Luca Signorelli’s Studies of the Human Figure, Claire Van Cleave. 7. The ‘Deutsch’ and the ‘Welsch’ :Jorg Breau the Elder’s Sketch for the Story of Lucretia and the uses of Classicism in Sixteenth-Century Germany, Andrew Morrall. 8. Vasari, Prints and Imitation, Sharon Gregory. 9. Invenzione, Disegno e Fatica: Two Drawings by Giovambattista Naldini for an Altarpiece in Post-Tridentine Florance, Stuart Currie. 10. Drawings for Bartolomeo Passatotti’s Book of Anatomy, Monique Kornell. 11. Antonio Tempesta as Printmaker: Invention, Drawing and Technique , Michael Bury. 12. Early Modern Collecting in Northern Europe: Copied Drawings and Printed Prototypes, Tarnya Cooper.