- Silvia Massa
THE NEWS CORNER #19
14 June, 2018
ON THE AGENDA FOR THE NEXT TWO WEEKS:
Paris, Fondation Custodia: The American Dream: pop to the present. Prints from the British Museum. With more than 100 prints by 42 American artists, it provides an exciting overview of the development of printmaking in the United States since 1960. Until September 2nd.
Paris, Louvre: En société, pastels du Louvre des 17e et 18e siècles. Until September 10.
Roy Lichtenstein, Brushstrokes, 1967
Colour screenprint, 555 × 765 mm British Museum, London 1979,1215.1
© Trustees of the British Museum and © Estate of Roy Lichtenstein New York / Adagp, Paris, 2018
Berlin, Gemäldegalerie: Seeblicke. Niederländische Zeichnungen aus der Sammlung Barthold Suermondt. On display 20 drawings from the Suermondt collection, which counts more than 400 drawings (most of them made by XVII c. Netherlandish masters) in the Kupferstichkabinett. Until July 8.
Musée Jenisch, Vevey: Picasso. Lever de rideau. L'arène, l'atelier, l'alcôve with sheets from the Saltimbanques series (1905) and erotic etchings (1968). (until October 7). The same museum will also host: En selle! Kokoschka et les équidés.
Double vernissage: 21 June 6.30PM.
Bremen, Kunsthalle: Kühles Licht und weite See. Niederländische Meisterzeichnungen und ihre Restaurierung. On display drawings by Dutch and Flemish masters belonging to the museum's collection and restored thanks to the Hermann Reemtsma foundation. Until July 1st.
* conferences etc.
Padova, 21-23 June: Disegnare l'antico, riproporre l'antico nel Cinquecento. Taccuini, copie e studi intorno a Girolamo da Carpi (Dipartimento dei Beni Culturali, Università di Padova, Sala delle Edicole, Piazza Capitaniato - Arco Vallaresso).
The Hague, 21 June: RKD Talks: Yvonne Bleyerveld 'Giant woodcuts by Jacob Cornelis van Oostsanen' (RKD, Prins Willem Alexanderhof 5, The Hague - 5PM-7PM).
ONE DEADLINE BEFORE SUMMER...
CFP: Das Ende der Architekturzeichnung? Darstellungsmodi und Baupraxis zwischen 20. und 21. Jahrhundert. Study days (21-23 November) at the Bibliotheca Hertziana in Rome. Deadline: June 30.
...AND ONE AFTER SUMMER:
Master Drawings announces the first annual Ricciardi Prize for the Best Article on a Drawings topic (any period). Young scholars under the age of 40 are invited to apply. Submit essay, illustrations and CV to administrato(at)masterdrawings.org.
Deadline: October 1st.
HOT OFF THE PRESS!
The journal Horti Hesperidum (Studi di storia del collezionismo e della storiografia artistica) has a brand-new publication: ‘Invenit et delineavit’. La stampa di traduzione tra Italia e Francia dal XVI al XIX secolo. Proceedings of the international conference held in Rome, Istituto Centrale per la Grafica, on 7 June 2016, curated by Francesca Mariano (AG Paris coordinator) and Prof. Véronique Meyer. The papers presented (available online) tackle different aspects of the reproductive print between France and Italy (first half XVI-end of XIX c.): printmakers, publishers, connoisseurs, technical issues, circulation of models.
Rebecca Capua has been awarded the 2018 Schulman and Bullard Article Prize (fourth edition). Capua, who is associate paper conservator at the Sherman Fairchild Center for Works of Art on Paper, presented her article Japonisme and Japanese Works on Paper: Cross-cultural and hybrid materials, published in Adapt and Evolve: East Asian Materials and Techniques in Western Conservation (proceedings from the International Conference of the Icon Book & Paper Group, held in London from April 8-10, 2015).
DESCRIPTION OF A PROJECT
EXAMINING PRINT DISTRIBUTION AND PRINT PRICES (1565-1640)
Karen L. Bowen and Dirk Imhof
We are currently examining the international distribution of prints via the Plantin-Moretus Press of Antwerp in the period 1565-1640, when Antwerp was still one of the leading centers for the production and publication of prints that dominated the European print trade.
The lack of such a study is lamentable, for while numerous tantalizing examples of the prints that were produced and how they were used and collected are known, we have yet to find a comprehensive, well-substantiated account of how these prints actually reached their perspective clients and at what cost – both in practical and financial terms.
In particular, we are focusing on the following topics:
1. The role played by booksellers, like the Plantin-Moretus Press, in the distribution of prints in this period;
2. Which individuals, from printmakers and publishers to booksellers and merchants, were involved in this process;
3. What quantities of prints were being sold and at what price.
While we are working on this topic via the exceptionally well-preserved archives of the Plantin-Moretus Press of Antwerp, we would gladly learn of others who might be studying similar matters of print prices, distribution networks, and transport based on other sources.
image: engraving by Hieronymus Wierix after Marten de Vos. This is one of ten prints of St Hubert that were bought by the Archduke and duchess of the Southern Netherlands, Albert and Isabella, from Balthasar Moretus I on 26 December 1617.
It cost 1 Brabant stuiver (British Museum, no. 1880,0508.48).
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contact Ars Graphica Communication via email:
AG communication coordinator