LaurieAnnie's photos with the keyword: engraving

Adam and Eve, 1504 Albrecht Dürer (German, 1471–1528) Engraving 9 7/8 x 7 7/8 in. (25.1 x 20 cm) Fletcher Fund, 1919 (19.73.1) Under the influence of Italian theory, Dürer became increasingly drawn to the idea that the perfect human form corresponded to a system of proportion and measurements. Near the end of his life, he wrote several books codifying his theories: the Underweysung der Messung (Manual of measurement), published in 1525, and Vier Bücher von menschlichen Proportion (Four books of human proportion), published in 1528, just after his death. Dürer's fascination with ideal form is manifest in Adam and Eve. The first man and woman are shown in nearly symmetrical idealized poses: each with the weight on one leg, the other leg bent, and each with one arm angled slightly upward from the elbow and somewhat away from the body. The figure of Adam is reminiscent of the Hellenistic Apollo Belvedere, excavated in Italy late in the fifteenth century. The first engravings of the sculpture were not made until well after 1504, but Dürer must have seen a drawing of it. Dürer was a complete master of engraving by 1504: human and snake skin, animal fur, and tree bark and leaves are rendered distinctively. The branch Adam holds is of the mountain ash, the Tree of Life, while the fig, of which Eve has broken off a branch, is the forbidden Tree of Knowledge. Four of the animals represent the medieval idea of the four temperaments: the cat is choleric, the rabbit sanguine, the ox phlegmatic, and the elk melancholic. Before the Fall, these humors were held in check, controlled by the innocence of man; once Adam and Eve ate from the apple of knowledge, all four were activated, all innocence lost. Text from: www.metmuseum.org/toah/ho/08/euwc/ho_19.73.1.htm

Artist: Albrecht Dürer (German, Nuremberg 1471 - 1528 Nuremberg) Title: Saint Jerome in His Study Date: 1514 Medium: Engraving Dimensions: sheet: 9 11/16 x 7 7/16 in. (24.6 x 18.9 cm) trimmed on plate line Classification: Print Credit Line: Fletcher Fund, 1919 Accession Number: 19.73.68 Text from: www.metmuseum.org/Works_of_Art/collection_database/drawin... and St. Jerome in his Study St. Jerome who translated the Bible into Latin (the Vulgate) and was thus and exemplar of the Christian scholar, is seated in a study typical of that in Durer’s day. He works peacefully at a tilted writing table while his lion and dog slumber in the foreground. The light of his halo and the sunlight pouring in through the windows are in perfect equilibrium, and recurrent horizontals in the composition add to the pervasive sense of repose and harmony. The gourd hanging from the ceiling is an ironic allusion to a philosophical controversy resulting from Jerome’s translation of the biblical phrase, “gourd bower” as “ivy bower.” Text from the Metropolitan Museum of Art label.

Artist: Albrecht Dürer (German, Nuremberg 1471 - 1528 Nuremberg) Title: Coat of Arms with Cock Date: ca. 1502 Medium: Engraving Dimensions: 7 3/8 x 4 in. (18.8 x 10.2 cm) 7 13/16 x 5 1/4 in. (19.8 x 13.3 cm) Classification: Print Credit Line: Fletcher Fund, 1919 Accession Number: 19.73.112 Text from: www.metmuseum.org/Works_of_Art/collection_database/drawin... and Albrecht Durer German, 1471-1528 Coat of Arms with Cock, ca. 1502 Engraving Accession # 19.73.112 This beautiful design is probably Durer's own invention rather than a representation of an existing armorial device. It is one of only a few pure ornament engravings the artist produced. In this work, Durer's fine engraving technique brilliantly conveys the different textures of the cock's feathers, the metal of the helmet, and curling acanthus leaves. The degree of animation he brought to ornament was greatly influenced by Martin Schongauer, an example of whose work is displayed nearby. Text from the Metropolitan Museum of Art label.

Artist: Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach) Title: The Censer Medium: Engraving Dimensions: 10 11/16 x 8 5/32 in. (27.1 x 20.7 cm) Classification: Prints Credit Line: Harris Brisbane Dick Fund, 1926 Accession Number: 26.41 Text from: www.metmuseum.org/Works_of_Art/collection_database/drawin... and Schongauer played an important role in the development of engraving in the latter half of the fifteenth century. This image of a censer- a container used to burn incense during mass- is one of the most celebrated prints he produced, not least for the precision of detail the work displays. Schongauer gave the object a degree of physical presence and illusionism entirely new to engraving of this period. It is likely that the print reproduced an existing object, though it may also have been executed as a model for goldsmiths. Text excerpted from the Metropolitan Museum of Art label.

Artist: Premier Engraver (possibly Giovanni Antonio da Brescia) (Italian, active ca. 1490-1525) After: Andrea Mantegna (Italian, Isola di Carturo 1430/31 - 1506 Mantua) Title: Four Dancing Muses Date: ca. 1497 Medium: Engraving Dimensions: plate: 10 1/4 x 13 3/4 in. (26 x 35 cm) Classification: Print Credit Line: Rogers Fund, 1920 Accession Number: 20.5.3 Text from: www.metmuseum.org/works_of_art/collection_database/drawin... and This engraving reproduces, with a few variants, four of the dancing Muses in Andrea Mantegna's Parnassus (ca. 1497; Musee du Louvre, Paris), painted for the studiolo of Isabella d'Este in Mantua. The fact that the copper plate for this engraving remained in Mantegna's family until after his death suggests that the print was made by an artist with whom he collaborated. It is executed by an anonymous hand working in an engraving style prevalent in not only in Mantua in the circle of Mantegna, but also in Florence in the last quarter of the fifteenth century. As can be seen here and in other examples displayed nearby, the style is dominated by the use of powerful contours and repeated parallel hatching to define and model form. Text from the Metropolitan Museum of Art label.

Artist: Premier Engraver (possibly Giovanni Antonio da Brescia) (Italian, active ca. 1490-1525) After: Andrea Mantegna (Italian, Isola di Carturo 1430/31 - 1506 Mantua) Title: Four Dancing Muses Date: ca. 1497 Medium: Engraving Dimensions: plate: 10 1/4 x 13 3/4 in. (26 x 35 cm) Classification: Print Credit Line: Rogers Fund, 1920 Accession Number: 20.5.3 Text from: www.metmuseum.org/works_of_art/collection_database/drawin... and This engraving reproduces, with a few variants, four of the dancing Muses in Andrea Mantegna's Parnassus (ca. 1497; Musee du Louvre, Paris), painted for the studiolo of Isabella d'Este in Mantua. The fact that the copper plate for this engraving remained in Mantegna's family until after his death suggests that the print was made by an artist with whom he collaborated. It is executed by an anonymous hand working in an engraving style prevalent in not only in Mantua in the circle of Mantegna, but also in Florence in the last quarter of the fifteenth century. As can be seen here and in other examples displayed nearby, the style is dominated by the use of powerful contours and repeated parallel hatching to define and model form. Text from the Metropolitan Museum of Art label.