Printed artworks were often ephemeral, but in the early modern period, exchanges between prints and other media set off chain reactions of images and objects that have endured. Paintings and drawings, sculpture, decorative arts, scientific instruments, and arms and armor served as the point of departure for printed images, while prints provided artists with paper veneers and with sources of adaptable motifs and ideas, heralding a global mobility of visual knowledge.This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how original “meanings” may be lost, reconfigured, or subverted through translations across traditional geographic, temporal, and material boundaries. Thus, Netherlandish print motifs grace an Italian cabinet, inspire paintings and ivory carvings in Mexico and India, and appear integrated into the calligraphic scheme of a Persian royal album. Andrea Mantegna’s Battle of the Sea Gods, an engraving which emulated the properties of sculpted relief, was reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the objects from which they derived.Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent design in another medium--a painting, sculpture, or drawing--to considering its role as a generative, active agent that was responsible for driving modes of invention and perception far beyond the locus of its production.
|Place of Publication
|Published - 2017
|Visual Culture in Early Modernity