L'influence de la gravure sur les plaques de bronze de la Renaissance italienne
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| Pseudo Antonio da Brescia Abundance and a Satyr [obverse], 1505 or afterbronze//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.
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| Andrea Briosco, called Riccio A Satyr Uncovering a Nymph, early 16th centurybronze 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.
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| Andrea Briosco, called Riccio Judith with the Head of Holofernes, early 16th centurybronze 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 |
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| Andrea Briosco, called Riccio Death of Marcus Curtius, early 16th centurybronze 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 |
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| Moderno The Flagellation, late 15th–early 16th centurybronze//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 |
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| Moderno The Entombment, late 15th–early 16th centurybronze 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 |
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| Moderno Hercules and Antaeus, late 15th–early 16th centurybronze//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 |
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| Attributed to Workshop of Alessandro Leopardi Combat of Ichthyocentaurs, early 16th centurybronze//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 |
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| Master IO.F.F. The Death of Marcus Curtius, second half 15th centurybronze//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 |
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| Giovanni Bernardi The Fall of Phaeton, 1533 or afterbronze//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 |
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| Giovanni Bernardi The Rape of Ganymede, 1532 or afterbronze 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 |
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| Gian Jacopo Caraglio The Adoration of the Shepherds, c. 1526bronze 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
(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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