Considering the comprehensive literature on works of art lost during World War II, 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 for 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, they offer divergent 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, who prepared the drawing for the print, or the engraver himself alter, leave out or add to the original? Are there different approaches to the task of “reproducing” in the North or the South? Can one observe different attitudes to render paintings, sculptures or architecture in print in the long run of the Renaissance? This session aims to clarify these aspects, especially to show the double face of preserving the work of art and to produce a new one through line, light and shade, but also (at times) through observing nature in a more intense way and in creating a convincing ensemble, fusing the style of the depicted work of art with the style of the engraver.

Scholars of art history are kindly invited to send their proposal to the organizers Anne Bloemacher (annebloemacher@uni-muenster.de) and Claudia Echinger-Maurach (echinger@uni-muenster.de) before Friday, July 24, 2020.

Your email should include the following:
- Full name, current affiliation; if applicable, preferred email address, and PhD completion date (past or expected)
- Paper title (15-word maximum)
- Abstract (150-word maximum) with 3-5 keywords listed below
- A short CV (300 word maximum)
- Any audio/visual requirements

Please note: Speakers must become RSA members by November 1st to speak at the conference.

This panel is sponsored by the Association of Print Scholars.