Organized by Claudia Echinger-Maurach (Westfälische Wilhelms-Universität Münster) and Anne Bloemacher (Westfälische Wilhelms-Universität Münster), this panel will address the absence of scholarship on lost paintings, sculptures, and architecture from the Renaissance with special regard to their “preservation” in print is astounding. Prints play a significant role in our knowledge of lost art, yet all too often prints have been used as mere “documents” of such objects. As works of art in their own right, they show us the “contemporary eye” and very often, offer “alternative facts.” The analysis of lost works of art in print opens a great variety of questions: How close comes the print to the original? How much did the draughtsman that prepared the drawing for the print, or the engraver himself, alter, omit, or add to the original? Are there different approaches to the task of “reproducing” in the North or South? Can one observe different attitudes in rendering paintings, sculptures, or architecture in print throughout the Renaissance? The panel seeks to clarify these aspects, as well as highlighting the dual aim of preserving the work of art and producing a new one through line, light, and shade, but also (sometimes) through observing nature in a more intense way and creating a convincing new composition that fused the style of the depicted work of art with that of the engraver. 

 

Anne Bloemacher (Westfälische Wilhelms-Universität Münster), “Wishful Printing: Marcantonio Raimondi’s portrait of Pietro Aretino”

Angelika Marinovic (Universität Wien), “Titian’s Emperor Reprinted: How to read prints as documents of a lost portrait”

Mandy Richter (Kunsthistorisches Institut in Florenz), “Preserved in Print: Considering Perino del Vaga‘s lost Quos Ego in Genoa”

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Learn more about the venue and book travel & register for the conference online. 

 We hope to see you there!