Relevant bibliographies by topics / Baroque Engraving

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Academic literature on the topic 'Baroque Engraving'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Baroque Engraving"

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Kurhanova, Olena. "Interaction of verbal and graphic image in decoration of the Kyiv-Pechersk Lavra old-printed Akaphistus-books of the 17-18th cc." Text and Image: Essential Problems in Art History, no. 2 (2018): 1–18. http://dx.doi.org/10.17721/2519-4801.2018.2.01.

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The article explores the development of art decoration tradition in Kyiv-Pechersk Lavra old-printed Akaphistus-books editions of 17-18th cc. The essential elements of art decoration in these Akaphisthus-books are gravures with iconographic images of prayer addressees, corresponding to certain parts of the akaphistus text. The prayer addressee engravings are located in two positions: before or inside of the akaphistus text part. Frontispiece engravings initiate each part of Akaphistus-book. Iconographic posture of prayer addressee in such gravures directs the reader’s attention to the main topic of preceding text – glorification of God, angels or a saint. The frontispiece engraving in Kyiv-Pechersk Akaphistus of the 17th c. are often accompanied with verbal inscriptions, i. e. citations from the well-known church hymns. Quite often baroque poetic texts, which belong to the genre of Ukrainian baroque descriptive poetry, are placed below the frontispiece engraving. Such verbal inscriptions describe images of the engraving, verbalizing the general features of prayer addressee image. The lack of verbal inscriptions on frontispiece engraving in Akaphistus-books of 18th century is compensated by higher quality of the engraving, due to the usage of xylography technique. The image of prayer addressee is frequently used in the center of headset engraving, which precedes the title of each akaphistus text part. The miniatures inside the text part of akaphistus provide visual enrichment of the prayer process. The tradition of small plot illustrations insertion, corresponding to each of the 12 kondaks and ikoses of akaphistus, was initiated by the first Akaphistus editions of 1625 and 1629. This tradition was quite productive during the 17th – early 18th cc. Since the Akaphistus edition of 1731, the miniatures were substituted by engraved initials. The other peculiarity of this edition, which emerged in the subsequent editions of the 18th c., was the usage of engraved frame on each page. Such elements of the artistic decoration enable simultaneous visual and mental perception of akaphistus, declared in introductions to the first Kyiv-Pechersk Akaphistos editions. This masterpiece contamination of verbal and graphic aids in book artistic decoration presents the distinctive feature of the baroque style that influenced the Ukrainian book culture of the 17-18th centuries.
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Rogov, Mikhail A. "ARIA OF ISABELLA AND THE LAST WORD OF CHRIST. INTERMEDIAL INTERTEXTUALITY IN JOHANN KUPEZKY’S SON PORTRAITS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2023): 258–72. http://dx.doi.org/10.28995/2686-7249-2023-9-258-272.

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The article is in analysis of the visual, musical and textual aspects of the relevant scientific issue – the concept of intermedial intertextuality – on the example of two engravings created in mezzotint technique based on the selfportrait of the outstanding Baroque portraitist of Bohemian origin Johannes Kupetsky with his son Christoph, and on Christoph’s posthumous portrait. The first one was created by the Nuremberg engraver Bernhard Vogel, the second – by him or by his apprentice Valentin Daniel Preissler. In addition to the images, those prints contain poetic inscriptions, quotations and musical texts. In a lifetime portrait the musical text was identified as the incipit of an aria of the Baroque opera by Reinhard Kaiser. Thanks to it, the quote from Statius’s “Thebaid” in the engraving was associated with the experience of marital adultery. In the posthumous portrait of Christoph, accepting from Manus Dei a scroll with the emblem of “Τετέλεσται”, the motto bears the evangelical connotations – the execution of the sentence and the completion of the earthly path. The image of the siren on the emblem corresponds to the image of the personification of Eternity in the Iconology by Cesare Ripa. However, the siren in the Nuremberg mezzotint holds not a ball but a compass, outlining an incomplete circle – a motif associated with the personification of Perfection. The emblem on the mezzotint illustrates a syncretic image of Perfection found in Eternity
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Gómez López, Susana. "The Encounter of the Emblematic Tradition with Optics." Nuncius 31, no. 2 (2016): 288–331. http://dx.doi.org/10.1163/18253911-03102002.

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In his excellent work Anamorphoses ou perspectives curieuses (1955), Baltrusaitis concluded the chapter on catoptric anamorphosis with an allusion to the small engraving by Hans Tröschel (1585–1628) after Simon Vouet’s drawing Eight satyrs observing an elephant reflected on a cylinder, the first known representation of a cylindrical anamorphosis made in Europe. This paper explores the Baroque intellectual and artistic context in which Vouet made his drawing, attempting to answer two central sets of questions. Firstly, why did Vouet make this image? For what purpose did he ideate such a curious image? Was it commissioned or did Vouet intend to offer it to someone? And if so, to whom? A reconstruction of this story leads me to conclude that the cylindrical anamorphosis was conceived as an emblem for Prince Maurice of Savoy. Secondly, how did what was originally the project for a sophisticated emblem give rise in Paris, after the return of Vouet from Italy in 1627, to the geometrical study of catoptrical anamorphosis? Through the study of this case, I hope to show that in early modern science the emblematic tradition was not only linked to natural history, but that insofar as it was a central feature of Baroque culture, it seeped into other branches of scientific inquiry, in this case the development of catoptrical anamorphosis. Vouet’s image is also a good example of how the visual and artistic poetics of the baroque were closely linked – to the point of being inseparable – with the scientific developments of the period.
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Holešová, Anna. "Baroque religious pilgrimages and decorations of printed pilgrimage guides." Roczniki Biblioteczne 64 (April 6, 2021): 111–34. http://dx.doi.org/10.19195/0080-3626.64.5.

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Pilgrimage guides belong to the most widely published types of religious literature in Bohemia and Moravia in the 17th and 18th centuries. During this period Baroque religiosity grew stronger and the Catholic Church sought to consolidate its position in the country, which inclined to the ideas of the Reformation. Religious pilgrimages, festivities and ceremonies along with the worship of saints and faith in miracles, served as promotional tools of the Catholic faith. In order to spread Marian Piety, Czech and Moravian printers published works written by the representatives of church elites. In their works they dealt with the history of pilgrimage sites related to the Virgin Mary. The prints were published in Latin and German. In addition to the treatise about the pilgrimage sites and miraculous healings, they included prayers, songs and recommendations as to how to behave during a pilgrimage. It was not only the text component which the reader found interesting; he/she was also impressed by the graphic design of the print. The book decoration consisted of vignettes, friezes, typographic ornaments, lines or clichés, which fulfi lled an aesthetic and practical function. The customers’ interest was stimulated by copper engraving illustrations and Baroque allegorical frontispieces depicting a Marian statue and miracle picture or by depiction of the concrete pilgrimage site in the form of a veduta. The authors included some of the important Czech illustrators and engravers who collaborated with famous foreign artists.
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Steiger, Johann Anselm. "Hiob zwischen probatio, patientia und blasphemia." Scientia Poetica 19, no. 1 (January 27, 2015): 1–28. http://dx.doi.org/10.1515/scipo-2015-0102.

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AbstractThis article provides an overview of the history of exegesis of the book of Job in 16th and 17th century Lutheranism. Early reformers such as Johannes Bugenhagen, Johannes Brenz, and Hieronymus Weller, a pupil of Luther, published commentaries about this philologically as well as theologically difficult narration of the Old Testament. In the 17th century, interpreters of Job made use of a variety of literary forms, including lyrical poetry (e. g. Sigmund von Birken). A highlight of the Job exegesis in baroque Lutheranism lies in the comprehensive commentary published by Sebastian Schmidt of Strasburg in 1670. The article closes by paying particular attention to the iconography of the multi-part copper engraving, created by Albert Christian Kalle for the Job exegesis by the pastor Christoph Scultetus of Stettin in 1647.
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Radyshevsky, Rostyslav. "STEMMATIC-EMBLEMATIC CONCEPTS OF THE POEM ‘ECHO GŁOSU’ BY STEFAN JAWORSKI." Polish Studies of Kyiv, no. 39 (2023): 402–31. http://dx.doi.org/10.17721/psk.2023.39.402-431.

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The article examines S. Yavorskyi’s work “Echo of a Voice…” in a stemmatic and emblematic context, in particular the illustrative material from seven engravings by I. Shchyrskyi, which carries a conceptual load. The panegyric, dedicated to the day of the patron saint Ivan Mazepa, contains poetic texts in which the praises of the coat of arms of the Mazepa family are praised. Yavorskyi’s wide use of intertextual references to biblical and ancient images and plots, pathetic concepts for the designation of virtues primarily related to statesmanship and military success, in a hyperbolic manner consistent with baroque traditions, was noted. The central conceptual figure of the poem “Na klucz herbowy alias Jasieńczyk” (“Na klucz herbowy alias Jasieńczyk”) is the kleinode “key”, which appears in the meaning of the key “from all gates”: to people’s hearts, exclusively to royal and tsarist offices, and even to heaven. In the third poem “On three rivers, or Korczak” (“Na trzy rzeki alias Korczak”), the symbol “three years” is interpreted as knightly courage in the fight against the enemy and three theological virtues inherited by the family: Faith, Hope, Love, which flow to of the “bottomless sea” of God’s favors. In one of the poems, Yavorsky leads the reader to the conclusion that Ivan Mazepa won the Hetman’s honors thanks to his virtues, and not by inheriting them. In addition, in justifying the heroism of Mazepa’s ancestors, the poet demonstrates his extensive knowledge of the history of the Mazepa family, using historical data from ancient chronicles. Coat of arms, described in the poems “On the heraldic moon with stars and an arrow, or Sas” (“Na herbowy z gwiazdami i z strzalą księżyc vulgo Sas”) and “On the coat of arms of half an arrow, or Odrowąż” (“Na herb Półstrzały vulgo Odrowąż”), indicated the celebrity and courage of the family, while Yavorskyi’s interpretation was based on the topos of ancient mythology and Sarmatism symbolism. On the “boat with sirens” engraving, Mazepa travels for the golden fleece under the patronage of Ivan the Baptist, which was supposed to symbolize the hetman’s political path. S. Yavorskyi often compares Mazepa with Apollo in the context of astrological symbolism, with the god of war Mars in the spirit of Sarmatian symbolism, with Icarus as a warning, and declared the sky to be Mazepa’s home, and Mazepa’s power to be chosen by God.
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Isidoro, Alberto Martín. "Revisitando el orden zoomorfo: diseño decorativo en las riberas del Titicaca." Sztuka Ameryki Łacińskiej 2 (2012): 19–40. http://dx.doi.org/10.15804/sal201201.

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A special kind of wood architecture order for retables and pulpits is developed around the Lake Titicaca. It is possible, to consider it as a part of a regional itinerant aesthetic, i.e., zoomorphic order. Datable between the end of 17th century and 18th century, it is one of the stylems that define hybrid baroque, probably inspired in engraved sources. The above mentioned order already had been identified and documented 40 years ago by the architects José de Mesa and Teresa Gisbert. Nevertheless, to think again about this topic can throw new light to what was already said, extending certain aspects. I especially want to lead to the end one of their hypotheses: This column is also a mannerist survival since it is inspired by treatise writers, so Palladio in his book ‘Quarter of Architecture’ treats Nerva’s temple, on chapter VIII, showing a capital with horses, and Sagredo has a capital with heads of sheeps. This conjecture is founded on the traffic of architecture treatises, but especially on the idea of inspiration and not a faithful reproduction of the engraving sources, since there was only a few holders of those books. On the other hand, it was more possible to have copies in diverse degrees due to their transformations because of transposition process. With that idea, I allow myself to advance on the topic from a new perspective. It is to consider the contribution of a contemporary referrer, already well known and with a great influence in continental Europe in the beginning of the development of these hybrid works: Jean Bérain the Elder (1640–1711). In his repertoire, we find his proposals on variants of capitals of columns and pilasters. Here the arabesque subordinates the acanthus and there is a wide development of fantastic animals or semihuman beings of a classic mythological character – that shows us an evident mannerist influence. I will focus on the research of this order, in two cases: gospel altarpiece in Pomata’s transept and Yunguyo’s major altar and pulpit, two Dominican churches in the former colonial Chucuito in Peru.
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Hanovs, Deniss, and Valdis Teraudkalns. "Political Theology of Baroque Ruler: The Case of the Coronation Book of Empress Elizabeth of Russia." RUDN Journal of Russian History 21, no. 2 (June 2, 2022): 258–74. http://dx.doi.org/10.22363/2312-8674-2022-21-2-258-274.

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The study analyses the political theology and imagery of a female Russian ruler in the first half of the 18th century in the context of the European political discourses on feminine rulers during the baroque period. The coronation ritual of Empress Elizabeth (ruled 1741-1761, crowned 25 April 1742) reflected in the coronation book (1744) illustrates the transition of European images of a baroque feminine ruler into the semiotics of westernized Russian absolutism. Elizabeth appears in the court media (sermons, engravings in the coronation book, poems, etc.) as the natural, God-given mother of all Russians, saving Orthodoxy from the political chaos of the previous rule, combining both masculine and feminine images of a ruler. The image of Elizabeth in the sermon by Archbishop of Novgorod Ambrosii illustrates a Russian variation of the political liturgy of absolutist culture in the 18th century.
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Simic, Vladimir. "Politics, orthodoxy and arts: Serbian-Russian cultural relations in the 18th century." Muzikologija, no. 28 (2020): 79–98. http://dx.doi.org/10.2298/muz2028079s.

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The complicated political and cultural position of the Serbs who migrated to the Habsburg Monarchy in the early eighteenth century caused the rise of popularity of Russian rulers, who were recognized as protectors of the Orthodox against religious persecution. Political ties were accompanied by a strong Russification of Serbian culture, which was carried out through the mass procurement of Russian liturgical books and the arrival of many Russian teachers to Serbian schools. Ukrainian painters who came to the Metropolitanate of Karlovci brought new forms of baroque religious painting and introduced changes in the structure of the iconostasis. The cult of the Romanov dynasty among Orthodox Serbs in Hungary was amplified by their numerous portraits and engravings.
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Sellink, Manfred, and Susan Dackerman. "Painted Prints; The Revelation of Color in Northern Renaissance & Baroque Engravings, Etchings & Woodcuts." Simiolus: Netherlands Quarterly for the History of Art 30, no. 3/4 (2003): 252. http://dx.doi.org/10.2307/3780919.

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Dissertations / Theses on the topic "Baroque Engraving"

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Bartůšková, Alice. "Řehole a múzy. Bratři kapucíni ve službách umění na prahu českého baroka." Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-434098.

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disertační práce v anglickém jazyce ALICE BARTŮŠKOVÁ MONASTIC RULES AND MUSES. THE CAPUCHIN FRIARS IN THE SERVICE OF THE ART IN EARLY BAROQUE BOHEMIA VEDOUCÍ PRÁCE: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. Dissertation entitled Monastic rules and muses. The capuchin friars in the service of the art in early Baroque Bohemia set out for the purpose of research to the neglected theme of the Capuchin brothers - painters on the border between Mannerism and the Baroque era. This phenomenon in painting, which is not only characteristic for the order of the Capuchins, but also of other ecclesiastical orders, has never been more comprehensive. The Capuchin brother Paolo Piazza came to the Czech lands with first capuchin brothers; in his paintings he is inspired of the Venetian school of the 16th century. He was a versatile painter, he created not only painting on canvases, but also made wall paintings and his painting manuscript was not uniformly defined. Paolo Piazza worked in the capuchin monasteries in Prague and Brno during the reign of Rudolph II, for the emperor himself he created several artworks. Piazza's work has also been preserved in the engravings of the Sadeler family. Thanks to these engravings, several Piazza's compositions with a set iconographic type have spread to European fine arts. From the...
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Books on the topic "Baroque Engraving"

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Esterházy, Pál. Az egesz vilagon levő csudalatos Boldogsagos Szűz kepeinek rövideden föltet eredeti ; mellyet sok tanuságokbol öszve szerzett, és az Aétatos hivek lölki üdvősségére ki bocsátott. Budapest: Balassi Kiadó, 1994.

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Pál, Esterházy. Az egesz vilagon levő csuldalatos boldogsagos szűz képeinek rövideden föltet eredeti. Budapest: Balassi Kiadó, 1994.

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Calvi, Antonella. Le incisioni del barocco. Pavia: Biblioteca civica Bonetta, 2013.

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Paul, Rubens Peter. Rubens and printmaking: Charrington Print Room, Fitzwilliam Museum, Cambridge, 25 September-9 December 1990. Cambridge: The Museum, 1990.

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Stroh, Stephanie. Verwandlung der Welt: Meisterblätter von Hendrick Goltzius : eine Ausstellung des Augustinermuseums und der Kunstsammlung der Georg-August-Universität Göttingen. Petersberg: Michael Imhof Verlag, 2020.

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Stella, Françoise. Baroque ornament and designs. New York: Dover Publications, 1987.

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Jong, Tjebbe T. de. Bote en Schelte: Boëtius en Schelte : van Bolswert naar Antwerpen : Gouden Eeuwgravures naar Bloemaert, Rubens en Van Dyck. Bolsward: Titus Brandsma Museum, 2013.

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Mexico), Museo Amparo (Puebla, ed. Imprentas, ediciones y grabados de México barroco. Puebla, Pue: Museo Amparo, 1995.

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María, Cruz de Carlos, Matilla José Manuel, and Biblioteca Nacional (Spain), eds. Grabadores extranjeros en la Corte española del Barroco. Madrid: Biblioteca Nacional de España, 2011.

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Matilla, José Manuel. La estampa en el libro barroco: Juan de Courbes. Vitoria-Gasteiz: Ephialte, Instituto Municipal de Estudios Iconográficos, 1991.

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Book chapters on the topic "Baroque Engraving"

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Dekoninck, Ralph. "Engraving." In Lexikon of the Hispanic Baroque, 117–20. University of Texas Press, 2014. http://dx.doi.org/10.7560/753099-028.

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Bargellini, Clara. "Engraving." In Lexikon of the Hispanic Baroque, 121–24. University of Texas Press, 2014. http://dx.doi.org/10.7560/753099-029.

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Reiter, Walter S. "Heinrich Ignaz Franz von Biber: The Mystery Sonatas." In The Baroque Violin & Viola, vol. II, 109–19. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0011.

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The lesson begins with information on Heinrich Ignaz Franz von Biber and the background to the Rosary sonatas. The author’s meditational approach is explained: musicians, like actors, must convince the audience by their simulation of faith. The engraving at the head of the sonata is fully discussed and there are thoughts on instrumentation and structure. The full biblical texts for the two Rosary sonatas discussed in the book are reproduced in Appendix IV. In the two lessons on Biber, the biblical and musical texts are constantly interwoven to suggest programmatic content, as if the narrative is recounted by the notes themselves, the rhetoric of the Gospel and Biber’s music fully aligned. Much in this approach is speculation, but the author believes that the clearer the performer’s vision, the more intense and meaningful will be the result. As usual, the “Observations” section is packed with suggestions and information based on many years of performing these unique works.
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Rice, Albert R. "Baroque Clarinet in Society." In The Baroque Clarinet and Chalumeau, 190–220. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0006.

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The evidence for the acceptance and use of the Baroque clarinet in 18th-century society is discussed: in iconographical representations (engravings, paintings, etchings, mezzotints, stucco); by traveling musicians (August Freudenfeld, Francis Rosenberg, Mr. Charles); in court and aristocratic music (Stuttgart, Rastaat, Koblenz, Merseburg, Berleburg, Gotha, Karlsruhe, Mainz, Rudolstadt, Cologne, Paris, Olmütz, Darmstadt, Würzburg, Zweibrücken); in church and civic music (Nuremberg, Venice, Antwerp, Kremsmünster, Greiz, Kempten, London, Frankfurt, Salzburg, Schlosshof, Marienberg); and military music (Rastatt, London, New York, Paris, Stockholm, Salzburg). Newspaper advertisements include clarinet concerts; archival documents indicate the dates of clarinetists in court and monastery orchestras, and clarinets purchased by aristocrats and courts.
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Solum, John, and Anne Smith. "Sources: Style." In The Early Flute, 98–111. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198162537.003.0008.

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Abstract One of the pleasures of playing baroque and classical music on period instruments is that it leads us again and again into considerations of style. Because we do not have recordings from the pre-Romantic era (except what is revealed to us by mechanical musical instruments such as barrel organs), we are therefore largely dependent upon contemporary written information to tell us how music was played or sung. (We can also determine certain things from the instruments themselves, from pictures and engravings, and especially from a careful study of the written music.)
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Boswell, James. "An Account Of Corsica." In James Boswell, 3–142. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195165838.003.0001.

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Abstract Frontispiece: the portrait Henry Benbridge (1743-1812), American, was in Italy 1764-69; from there, between June and August 1768, he went to Corsica to paint Paoli; he came to London in December 1769 and returned permanently to America in 1770 (Gen. Corr. ii. 73-74 nn. 3, 4). Sir John Dick, then at Leghorn (see p. 11 n. 11) was the link-man; it was he who, c. 30 June 1768, forwarded JB’s letter to Paoli (presumably requesting that the portrait be undertaken) and had the portrait in his possession in August 1768 (Ibid, ii. 73, 97). The painting was exhibited in London, c. 12-24 May 1769 (Ibid, ii. 139 n. 6); the engraving was added to Corsica in the 3rd edn. title-page Non enim ... A. D. 1320 ‘Truly it is not on account of glory, or wealth or honour that we are fighting, but solely for that freedom which a virtuous man will sacrifice only with his life,’ Litera Comitum et Baronum Scotiae ad Papam (1320). Often referred to as the ‘Declaration of Arbroath,’ this letter from the Scottish nobility to the Pope asserted the independence of Scotland and rejected the domination of England. title-page Edward and Charles Dilly Edward (1732-79) and Charles (1739-1807), London booksellers and publishers. On 28 July 1767, Edward Dilly accepted JB’s proposal that Corsica should be published; he agreed to pay JB 100 guineas for the copyright; and, as his letters show, he took a keen, personal interest in the book. He contributed to British Essays in Favour of the Brave Corsicans (1769), a collection published by the two brothers. The first edition of Corsica was printed in Glasgow by the renowned Robert (1707-76) and Andrew (1712-75) Foulis (Gen. Corr. i. 187).
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