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Lisa Pon, Tracy Cosgriff, Frederic Nolan Clark, Andreas Kratky.
: Bibliotheca Iulia Instaurata = Immersive Raphael Project.
website, and database-immersive environment,
2022.
This project re-envisions the Stanza as the library of Julius II. In so doing, it reanimates these conversations by allowing visitors today to explore the visual and literary parallels that once wedded Raphael's magnificent paintings to the books tha. . .
t were shelved below them. Designed for students, scholars, and curious explorers alike, the platform is an immersive educational environment, allowing users to step into the shoes of the Renaissance scholars, diplomats, and prelates that once visited the space. We invite you to join this digital Stanza as reader, viewer, and interlocutor, to peruse its histories, and to reconsider its contents. What does the Bibliotheca Iulia reveal about word and image in sixteenth-century Rome? And what might these conversations tell us about learning, then and now?
Enter the database at https://scalar.usc.edu/works/digital-stanza-della-segnatura/index
Claudia Echinger-Maurach, Maurach Gregor.
Herme oder Terme? Texte und Bilder zur Klärung der Begriffe aus: Achilles Statius, Inlustrium viror[um] ut extant in urbe expressi vultus Romae 1569/Formis Antonij Lafrerj und: Achilles Statius’ Inlustrium virorum … vultus:.
digital project,
2021.
Herme oder Terme? Texte und Bilder zur Klärung der Begriffe aus: Achilles Statius, Inlustrium viror[um] ut extant in urbe expressi vultus Romae 1569/Formis Antonij Lafrerj und: Achilles Statius’ Inlustrium virorum … vultus: Hermen oder Termen? von C. . .
laudia Echinger-Maurach (FONTES 89)
This publication contains the transcripts of Achilles Statius' dedication to Antoine de Granvelle and his important, unpublished introduction into Lafrery's edition of the "Inlustrium virorum" from 1569 with a translation of both texts into German. In the following article Statius' explanation why these figures, which we today call herms, are called terms is embedded not only into the early history of these "terms" in art and architecture, but also into the history of publications on portraits of famous men and women in the 16th century.
Claudia Echinger-Maurach, Gregor Maurach , Margaret Daly Davis.
Des Arztes Gulielmus Pantin aus Brügge Erklärung des Frontispizwerks zu Hubertus Goltzius aus Würzburg.
FONTES E-Quellen und Dokumente zur Kunst 1350-1750,
2020.
Des Arztes Gulielmus Pantin aus Brügge Erklärung des Frontispizwerks zu Hubertus Goltzius aus Würzburg, Altertumsdarsteller und ein Griechisch geschriebenes Lobgedicht von Franziskus Nansius: Zusammenfassung aus: Hubertus Goltzius, C. Iulius Caesar . . .
sive Historiae imperatorum caesarumque Romanorum ex antiquis numismatibus restitutae (Brugis Flandrorum 1563) und Eine Bildanalyse des Frontispizes zu Hubertus Goltzius, C. Iulius Caesar... (Brugis Flandrorum 1563) mit einer Einleitung von Margaret Daly Davis: Hubertus Goltzius, historian, antiquarian, numismatist (in englischer Sprache) (FONTES 86)
Claudia Echinger-Maurach, Maurach Gregor.
Hubertus Goltzius erklärt dem Betrachter das Frontispiz seiner Fasten (1566).
FONTES E-Quellen und Dokumente zur Kunst 1350-1750,
2016.
Hubertus Goltzius erklärt dem Betrachter das Frontispiz seiner Fasten (1566) in: Hubertus Goltzius, Fastos magistratuum et triumphorum romanorum ab urbe condita ad Augusti obitum ex antiquis tam numismatum quam marmorum monumentis restitutos (Brugis. . .
Flandrorum 1566) und Eine Bildanalyse des Frontispizes zu Hubertus Goltzius, Fastos magistratuum et triumphorum romanorum (Brugis Flandorum 566) (FONTES 87)
Claudia Echinger-Maurach, Maurach Gregor.
Adolf Meetkercke: Gedicht des Adolf Meetkercke aus Brügge, wodurch das Frontispiz dieses Werkes des Goltzius erklärt wird und Louis Carrion: Louis Carrion aus Brügge zu demselben Frontispiz des Goltzius,.
FONTES E-Quellen und Dokumente zur Kunst 1350-1750,
2020.
Adolf Meetkercke: Gedicht des Adolf Meetkercke aus Brügge, wodurch das Frontispiz dieses Werkes des Goltzius erklärt wird und Louis Carrion: Louis Carrion aus Brügge zu demselben Frontispiz des Goltzius, Bürgers von Rom, aus: Hubertus Goltzius, Caes. . .
ar Augustus, sive Historiae Imperatorum Caesarumque Romanorum ex antiquis numismatibus restitutae (Brugis Flandrorum 1574) und Eine Bildanalyse des Frontispizes zu Hubertus Goltzius, Caesar Augustus, sive Historiae Imperatorum Caesarumque Romanorum ex antiquis numismatibus restitutae (Brugis Flandrorum 1574) (FONTES 88)
Lisa Pon, Erin Sullivan Maynes, Frederic Clark, David Ulin, Veronica Peselmann, Adam Bregman, Amy Buono, Malachai Bandy, Corey Carleton.
DecamerONline.
website,
2020.
DecamerONline, a pop-up project of the USC Levan Institute of the Humanities working group, "Books, Writing and Community," March-June 2020.
Our USC Levan Institute working group, “Books, Writing and Community," is developing a new and we hope us. . .
eful online presence in this strange and isolating time: a platform called “DECAMERONline” in which members of our community take turns telling stories, as did the original protagonists of Boccaccio’s Decameron, to pass the days while they were in flight from the plague in Trecento Florence. Our stories wouldn’t be bawdy pieces à la Boccaccio, but bits of our writing and thinking that we’d like to continue working on in these coming days and weeks (as we might have produced –and I hope still will-- in our collective “writing times”). Writing from our various perspectives as musicians and musicologists, journalists and librarians, historians, art historians and curators, we will regularly offer texts, together with a posted response and an invitation for online comments, as ways to build shared communal life even as we stay at home.
Archives of American Art, Smithsonian Institution.
Sears Gallagher Papers (c. 1882-2010) now available online.
Digital archive,
2018.
Sears Gallagher (1869-1955) was a draftsman, printmaker, and illustrator born in Boston. Gallagher was a founder of the Monhegan art colony.
The papers of draftsman, printmaker, and illustrator, Sears Gallagher measure 1.1 linear feet and da. . .
te from circa 1882-2010. The collection consists of biographical information including awards and a scholarly biography; correspondence, primarily professional in nature, documenting the placement of works; professional files that document the management of studio practices including the printmaking process and the distribution and sale of prints; scrapbooks chronicling Gallagher's professional and family history in the form of clippings, photographs, and correspondence; printed material including clippings and commercial prints of watercolors; photographs including those of the artist and his studio; and artwork including numerous drawings on paper and sketchbooks documenting key moments of travel and artistic production.
**Please click on the 'External Link' below to learn more.
.
Collecting Prints and Drawings: Thematic Virtual Issue “Journal of the History of Collections”.
Digital Issue,
2018.
The Journal of the History of Collections has launched a Thematic Virtual Issue on the topic of Collecting Prints and Drawings. The collection compiles articles from past issues of the journal and is a useful resource for those with research interest. . .
s in the history of works on paper and the people who collected them.
------
In 1565, Samuel Quiccheberg included prints and drawings among the contents of his imaginary 'theatre' of 'artificial and marvellous things'.1 For Quiccheberg, the sheer variety of works on paper was the appeal of this type of material, which could encompass everything from watercolours, intaglio and relief prints of all manner of subjects, to maps and genealogical tables. It is prints and drawings, and their allure for collectors, which forms this second virtual issue drawn from the archives of the Journal of the History of Collections.
Just as Quiccheberg celebrated prints and drawings for their variety, so this collection of papers celebrates the diversity of their acquirers: the many dedicated collectors who formed important, intriguing and very personal groups of works. Among these are the early collections of Gabriele Vendramin, who used a fortune founded on soap-production to acquire the drawings of the leading artists of his day; of the Swiss doctor Felix Platter, who preserved the collection of his mentor Conrad Gessner, among them many of the preparatory drawings for Gessner's renowned publication the Historiae Animalium (1551); and of Cardinal Alessandro Orsini, who amassed not only prints, but also the copper plates from which they were made.
For the last few years of Orsini's life, his colleague at the papal court was Cardinal Francesco Barberini, whose secretary, Cassiano dal Pozzo, amassed a vast and important collection of works on paper. For dal Pozzo, drawings and prints formed a 'Paper Museum', through which he sought to accumulate the riches of the natural and man-made worlds. Although dal Pozzo's zeal was notable, by the seventeenth century, collections of drawings and prints were increasingly common. In Leipzig later in the century, the architect Gottfried Wagner would amass 10,202 sheets which became one of the key holdings of the Dresden print room after his death. In the eighteenth century, like dal Pozzo, the artist Jan van Rymsdyk had aspirations to form his own small 'Museum', of artists' drawings.
Prints and drawings were not just stored in albums and portfolios: they could be framed alongside paintings and displayed on walls, or pasted into texts to provide illustration. In eighteenth-century Britain, concurrent fashions for portrait collecting and extra-illustrating texts saw market become'madness', with new prints issued to meet demand and increasing rarities fetching enormous prices. One enterprising cleric, the Revd John Brand, found an inventive way to participate in the latest craze without bankruptcy: he borrowed and carefully drew copies of the prints he coveted to form a unique and at the same time fashionable collection.
Beyond the individualities of collectors themselves, the study of the market for prints and drawings can illuminate our understanding of the polite world and its mores, of the complexities of connoisseurship, and of the production (and preservation) of satire as a barometer of a society. If this collection begins, chronologically, with Gabriele Vendramin and his exquisite sheets of fine art, so it ends with Erwin Swann, who sought to preserve the graphic art of satire in a collection of prints and drawings no less fascinating than those formed by his illustrious forebears.
Footnote 1: Mark A. Meadow and Bruce Robertson (eds and trans), The First Treatise on Museums. Samuel Quiccheberg's 'Inscriptiones', 1565 (Los Angeles, 2013).
Dr. Katherine Reinhart.
Isaac Newton’s Woodblocks.
Online video,
2018.
In this video, we look at part of the printing process of one of the most important scientific documents of all time.
This short video, part of the 'Objectivity' series, highlights the research of Dr Katie Reinhart (CRASSH, Cambridge). The v. . .
ideo features Dr Katie Reinhart, Postdoctoral Research Associate on the AHRC-funded project "Making Visible: The Visual and Graphic Practices of the Early Royal Society." Join her in the basement of the Royal Society and learn about the printing process behind one of the most important scientific documents of all time!
Learn more about Katie's research and experience the online exhibition "Science Made Visible".
Calling itself the “Grand Central Depot for Cheap and Popular Prints,” Currier & Ives was a firm of printmakers and publishers founded in New York in 1834 by Nathaniel Currier (1813–1888) and, after 1857, headed by Currier and his partner, James . . .
Merritt Ives (1824–1895). It was one of the most successful commercial publishers of hand-colored lithographs in nineteenth-century America, producing more than 7,500 titles and selling hundreds of thousands of prints during their seventy-three years of operation.
Among the firm’s images, a limited collection of large and medium folio prints presented the work of important New York artists in lithographic form. The drawings, paintings, and prints in this online exhibition are the work of two of these artists: Frances Flora Bond Palmer (1812–1876) and Arthur Fitzwilliam Tait (1819–1905). They reveal the artists’ drawing and lithographic techniques, their accomplishments with the crayon, and highlight the lithographic and coloring processes developed in collaboration with publishers to translate artistic visions into reality.
Considered fine prints rather than commercial lithographs, Tait and Palmer's lithographs invite us to rethink the artistic value of Currier & Ives' large folios, which are among today’s most sought-after Currier & Ives prints.