1st Edition

The Reception of the Printed Image in the Fifteenth and Sixteenth Centuries Multiplied and Modified

Edited By Grażyna Jurkowlaniec, Magdalena Herman Copyright 2021
    324 Pages 28 Color & 106 B/W Illustrations
    by Routledge

    324 Pages 28 Color & 106 B/W Illustrations
    by Routledge

    324 Pages 28 Color & 106 B/W Illustrations
    by Routledge

    This book examines the early development of the graphic arts from the perspectives of material things, human actors and immaterial representations while broadening the geographic field of inquiry to Central Europe and the British Isles and considering the reception of the prints on other continents.

    The role of human actors proves particularly prominent, i.e. the circumstances that informed creators’, producers’, owners’ and beholders’ motivations and responses. Certainly, such a complex relationship between things, people and images is not an exclusive feature of the pre-modern period’s print cultures. However, the rise of printmaking challenged some established rules in the arts and visual realms and thus provides a fruitful point of departure for further study of the development of the various functions and responses to printed images in the sixteenth century.

    The book will be of interest to scholars working in art history, print history, book history and European studies.

    The introduction of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license at https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003029199-1/introduction-gra%C5%BCyna-jurkowlaniec-magdalena-herman?context=ubx&refId=b6a86646-c9f3-490d-8a06-2946acd75fda

    Introduction: People Between Multiplied Things and Modified Images

    Part 1: Things

    1. Multiplicity and Absence: The Negative Evidence of Interactive Prints

    Suzanne Karr Schmidt

    2. Playing with Destiny: Three Late Fifteenth-Century Uncut Playing-Card Sheets from Florence and Urbino

    Loretta Vandi

    3. Cultivating Designs: Early Ornamental Prints and Creative Reproduction

    James Wehn

    4. Gillet and Germain Hardouyn’s Print-Assisted Paintings: Prints as Underdrawings in Sixteenth-Century French Books of Hours

    Maureen Warren

    5. A Passion for Prints: Netherlandish Engravings in an Early Sixteenth-Century Prayer Book

    Olenka Horbatsch

    Part 2: People

    6. Eroticism under a Watchful Eye: Censorship and Alteration of Woodcuts in Ovid’s Metamorphoses between the Fifteenth and the Sixteenth Centuries 

    Giuseppe Capriotti

    7. Limitations of the Reception and Consumption of Illustrations in Chronica Polonorum by Maciej of Miechów (Cracow, 1521)

    Karolina Mroziewicz

    8. A Foreign Affair. Thomas Gemini and his Booklet of Moresque Designs 

    Femke Speelberg

    9. Speaking Images and Speaking to the Images: Inscriptions in Religious Prints Published by Antonio Lafreri 

    Alexandra Kocsis

    Part 3: Images

    10. Saint George from Greater Poland: Complexities of the Reception of Albrecht Dürer’s Engraving 

    Joanna Sikorska

    11. Changing Fortunes: Dürer’s Nemesis and the Beham Brothers 

    Małgorzata Łazicka

    12. The Set of the Four Elements by Hendrick Goltzius and the Use of Engravings in the Seventeenth Century

    Júlia Tátrai

    13. Different Confessions, Different Visions of Heaven? Visual Eschatology, Cross-Confessional Conformity and Confessional Identity Marking in the Picture Motet The Adoration of the Lamb and in Its Reception 

    András Hándl

    14. Prints and the Beginnings of Global Imagery 

    Jean Michel Massing


    Grażyna Jurkowlaniec is a professor at the Institute of Art History at the University of Warsaw.

    Magdalena Herman is a PhD candidate at the University of Warsaw.

    "Our editors deserve praise for compiling an engaging set of essays, carefully grouped for thematic unity. Topics address prints across Europe. The pool of contributors is correspondingly diverse, introducing many new voices from central and eastern Europe."

    --Historians of Netherlandish Art Reviews