Pesquisando por: "Plato, Ancient Greek philosopher" - Fotoarena - Agência de fotojornalismo

alb3631898 Speculum Romanae Magnificentiae: Portraits of the Ancient Philosophers. Artist: Anonymous, Italian, 16th century. Dimensions: sheet: 18 13/16 x 15 3/8 in. (47.8 x 39 cm). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 3, plate 82 in the scrapbook. 24 philosophers on two plates. This is the second plate. Museum: Metropolitan Museum of Art, New York, USA.

alb3605105 Erasmus of Rotterdam. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: sheet: 9 3/4 x 7 1/2 in. (24.8 x 19.1 cm) trimmed within plate line at top and bottom, slight margin at sides. Date: 1526.A Roman Catholic reformer and one the most important Netherlandish humanists, Erasmus of Rotterdam held a deep admiration for Albrecht Dürer, whom he praised in a eulogy as the greatest of graphic artists: "And is it not more wonderful to accomplish without the blandishment of colors what Apelles accomplished with their aid?" In likening Dürer to Apelles--indeed, in asserting the German's superiority over the Greek artist--Erasmus echoed a tradition dating back to antiquity of judging artists and the visual character of their work by the standards set by their predecessors. Dürer would certainly have appreciated the praise for his graphic talents. The portrait amply demonstrates the virtuous effects Dürer was able to achieve without the benefit of color or a liquid medium. Convincingly aligned at an angle to the picture plane, Erasmus stands writing in his study, with the books that indicate his substantial intellect and scholarship arranged around him. The vase of lilies probably refers to the purity of his mind, while the Latin and Greek inscription, prominently framed like a picture on the wall, underscores the scholar's humanistic interests: "This image of Erasmus of Rotterdam was drawn from life by Albrecht Dürer." Below are the date, 1526, in Roman numerals, and the artist's monogram.Dürer met Erasmus at least once in Brussels and twice in Rotterdam during a trip to the Netherlands in 1520 and 1521. Although he sketched Erasmus several times during his trip, he did not execute the engraving until six years later, and only then with the encouragement of his close friend Willibald Pirkheimer; apparently, for certain reasons Dürer had been disappointed by the well-known Protestant reformer. Dürer based the portrait on a medal of 1519 in Pirkheimer's collection by Quentin Massys and reproduced the Greek inscription found on the medal, which states: "A better portrait his writings show." Presumably Erasmus agreed, because he made known his disappointment with this portrait to at least two of his colleagues. And yet, Dürer's Erasmus remains one of history's richest and most powerful depictions of scholarly preoccupation and the humanist ideal. Museum: Metropolitan Museum of Art, New York, USA.

alb3662011 Speculum Romanae Magnificentiae: Aristotle. Artist: Anonymous, Italian, mid-16th century; After Enea Vico (Italian, Parma 1523-1567 Ferrara). Dimensions: sheet: 19 5/16 x 13 9/16 in. (49 x 34.5 cm)plate: 16 1/8 x 11 5/16 in. (41 x 28.7 cm). Published in: Rome. Publisher: Published by Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1553.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 68. Museum: Metropolitan Museum of Art, New York, USA.

alb3675124 Speculum Romanae Magnificentiae: Portraits of the Ancient Philosophers. Artist: Anonymous, Italian, 16th century. Dimensions: sheet: 18 5/16 x 15 3/8 in. (46.5 x 39 cm). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 3, plate 81 in the scrapbook. 24 philosophers on two plates. This is the first plate. Museum: Metropolitan Museum of Art, New York, USA.