L'influence de la gravure sur les plaques de bronze de la Renaissance italienne

Pseudo Antonio da Brescia
Abundance and a Satyr [obverse], 1505 or after
bronze//Light brown patina
overall (diameter): 5.9 cm (2 5/16 in.) gross weight: 77 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Pour les amateurs de mythologie et de scènes antiques !

Commissaire de l'exposition : Jamie Gabbarelli, assistant curator of prints, drawings, and photographs at the Rhode Island School of Design Museum.




Andrea Briosco, called Riccio
A Satyr Uncovering a Nymph, early 16th century
bronze
6 x 7.2 cm (2 3/8 x 2 13/16 in.)
National Gallery of Art, Washington, Samuel H. Kress Collection
Sharing Images tells the story of how printed images were transmitted, transformed, and translated onto ceramics and small bronze reliefs, creating a shared visual canon across artistic media and geographical boundaries. Often acknowledged, but rarely studied in depth, the impact of prints on other media is most visible in Renaissance maiolica (tin-glazed ceramics) and bronze plaquettes.
Fifteenth-century Europe was a place of technological revolution, particularly in the parallel development of printed books and images. These developments transformed the ways in which verbal and visual information could be accessed, with radical implications on cultural, scientific, and artistic production. As easily produced multiples, prints traveled widely. They were frequently copied by artists and craftsmen and were a driving force in the revolution of the arts of the Renaissance.

Andrea Briosco, called Riccio
Judith with the Head of Holofernes, early 16th century
bronze
overall: 10.7 x 8.4 cm (4 3/16 x 3 5/16 in.) gross weight: 357 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Andrea Briosco, called Riccio
Death of Marcus Curtius, early 16th century
bronze
overall: 7.8 x 6.4 cm (3 1/16 x 2 1/2 in.) gross weight: 121 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Moderno
The Flagellation, late 15th–early 16th century
bronze//Dark brown patina
overall: 13.5 x 9.9 cm (5 5/16 x 3 7/8 in.) gross weight: 397 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Moderno
The Entombment, late 15th–early 16th century
bronze
overall: 1062 x 692.5 cm (418 1/8 x 272 5/8 in.) gross weight: 158 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Moderno
Hercules and Antaeus, late 15th–early 16th century
bronze//Very dark patina
overall: 7.5 x 5.9 cm (2 15/16 x 2 5/16 in.) gross weight: 60 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Attributed to Workshop of Alessandro Leopardi
Combat of Ichthyocentaurs, early 16th century
bronze//Black lacquer over light brown bronze
overall (diameter): 17.8 cm (7 in.) gross weight: 765 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Master IO.F.F.
The Death of Marcus Curtius, second half 15th century
bronze//Dark brown patina (rubbed locally)
overall (shield-shaped): 6.1 x 5.9 cm (2 3/8 x 2 5/16 in.) gross weight: 31 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Giovanni Bernardi
The Fall of Phaeton, 1533 or after
bronze//Medium brown patina
overall (oval): 9 x 6.8 cm (3 9/16 x 2 11/16 in.) gross weight: 116 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Giovanni Bernardi
The Rape of Ganymede, 1532 or after
bronze
overall (oval): 6.7 x 9 cm (2 5/8 x 3 9/16 in.) gross weight: 85 gr
National Gallery of Art, Washington, Samuel H. Kress Collection

Gian Jacopo Caraglio
The Adoration of the Shepherds, c. 1526
bronze
overall (oval): 7.5 x 9.1 cm (2 15/16 x 3 9/16 in.)
National Gallery of Art, Washington, Eugene L. and Marie-Louise Garbáty
Small bronze reliefs, known as plaquettes, functioned primarily as refined ornaments or collectibles—a format influenced by ancient carved gems, coins, and statues—first appeared in Rome around 1440. As small, portable objects meant to be handled and privately enjoyed, plaquettes were similar to prints and often produced in or near important printmaking centers, such as Mantua, Bologna, or Venice. On view in the exhibition is Andrea Briosco's (1470–1532) plaquette Judith with the Head of Holofernes (early 16th century), alongside the print that inspired it, Judith with the Head of Holofernes (c. 1480), by a follower of Andrea Mantegna. Briosco responds to Mantegna's figural style by reducing it to a three-dimensional handheld object, creating an intimate, tactile encounter with the image. Also on view are three plaquettes by one of the masters of the medium, Moderno (Galeazzo Mondella, 1467–1528): The Flagellation, The Entombment, and Hercules and Antaeus (all dating from the late 15th to early 16th century).
Source du texte : Department of communications - NGA

Commissaire de l'exposition : Jamie Gabbarelli, assistant curator of prints, drawings, and photographs at the Rhode Island School of Design Museum.

(Avec, comme d'habitude, un grand merci à Laurie du Service de Presse de la NGA)

Pour l'influence de la gravure sur les majoliques, c'est par ici

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