Pesquisando por: "CORNELIS CORT" - Fotoarena - Agência de fotojornalismo

alb3644082 Aeneas and his family fleeing Troy. Artist: After Federico Barocci (Italian, Urbino ca. 1535-1612 Urbino); Agostino Carracci (Italian, Bologna 1557-1602 Parma). Dimensions: Sheet (Trimmed): 15 1/4 × 20 7/8 in. (38.7 × 53 cm). Publisher: Donato Rasicotti (Italian, active Venice, 1572-98). Date: 1595.Understanding that defending the burning city of Troy was futile, Aeneas fled with his aged father Anchises on his back. Anchises carried the penates (household gods), and Aeneas held his son Ascanius by the hand. His wife Creusa followed a few steps behind but was lost in the confusion of battle. The buildings of Troy seen here recall monuments in Rome, which was possibly an intentional detail to foreshadow Aeneas' fate.Federico Barocci produced two paintings of this subject. The earlier one was already in Prague when Agostino created this engraving, while the second version postdates it by three years. Another printmaker Cornelis Cort reproduced one of the paintings in a print. Agostino's biographer Malvasia tells us that Agostino created this engraving 'for study, and to please himself.' Agostino did not however please Barocci, to whom he sent two impressions of the engraving and received a rather nasty letter in return. It is hardly surprising that Barocci was unhappy, given that his paintings are characterized by softness and subtle coloristic changes rather than the sculptural form and bulging muscles that Agostino emphasized in his print. In previous engravings, Agostino had adapted the manner of Cornelis Cort to reproduce the coloristic qualities of Venetian painting. In this work, he turned for the first time to the example of the Dutch engraver Hendrick Goltzius, perhaps in response to Goltzius' 'Rest on the Flight', published the previous year, which masterfully replicates Barocci's painting style without copying a specific painting. Yet Agostino did not imitate the flowing and dissolving network of swelling lines that Goltzius had used to blur contours and blend tones, but rather the emphatic and exaggerated burin line that Goltzius had earlier applied to heroic subjects and Roman statues (17.37.59). Involved with his brother and cousin in the reform of painting, Agostino was known for 'correcting' his models when he engraved them, in this case making a heroic subject even more pronounced through firmer contours that recall ancient sculpture. Museum: Metropolitan Museum of Art, New York, USA.

alb3611131 Martyrdom of St. Lawrence. Artist: Cornelis Cort (Netherlandish, Hoorn ca. 1533-1578 Rome); After Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?-1576 Venice). Dimensions: Sheet: 19 13/16 x 13 3/4 in. (50.3 x 34.9 cm). Date: 1571.One of the most famed printmakers of his day, Cornelis Cort was admired for his ability to translate tonal qualities into a black and white engraving. Cort accomplished this in part through an important technical innovation: It is the nature of an engraved line, cut as it is with a tool (the burin) whose cutting edge comes to a sharp triangular point, to begin as a point, swell almost imperceptibly at the center, and narrow to a point again at the end. Cort exploited this quality of the burin line; by varying his pressure on the tool as he gouged the plate, he developed a flexible line that becomes thicker and thinner along its length, creating various degrees of darkness without adding additional lines.In the first half of the sixteenth century, Marcantonio Raimondi had successfully translated the firm contours and plastic form of Raphael's mobile figures into engravings through the use of a systematic network of uniform lines. But Titian, an artist known for his colore rather than his disegno, sought a printmaker who could convey the less tangible atmosphere, color, and light for which his paintings were famed, and specifically commissioned Cort to create engravings after several of his designs. This image of the stoic Saint Lawrence upon the grill combines elements of two paintings by Titian; however, the billows of smoke that provide such a wonderful foil for Cort's supple line are found only in the engraving. Cort's swelling and tapering line would have great importance for subsequent engravers, such as Agostino Carracci (Italian, 1557-1602) and Hendrick Goltzius (Netherlandish, 1558-1617). Museum: Metropolitan Museum of Art, New York, USA.

alb3641918 Speculum Romanae Magnificentiae: Bacchus on the Shoulders of a Satyr. Artist: Cornelis Cort (Netherlandish, Hoorn ca. 1533-1578 Rome). Dimensions: sheet: 13 11/16 x 6 7/8 in. (34.7 x 17.5 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome); Claudio Duchetti (Italian, active Venice and Rome, ca. 1565-died ca. 1585). 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 2, plate 55 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.