L'influence de la gravure sur les majoliques de la Renaissance italienne
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| Urbino Plate with a heraldic design after Hans Sebald Lautensack, c. 1552/1563tin-glazed earthenware (maiolica) overall: 4.45 x 24.13 cm (1 3/4 x 9 1/2 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
Toujours dans le cadre de mes réflexions sur la quadrature du cercle ou l'art d'intégrer un rectangle dans un cercle sans que ça se remarque !
Aujourd'hui, j'ai sorti le service de table des jours de fêtes. On met les petits plats dans les grandes oeuvres, des majoliques italiennes avec des scènes mythologiques inspirées de gravures de la Renaissance.
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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| Venice or Padua Plate with Dream of Daniel, 1545tin-glazed earthenware (maiolica) diameter: 29.21 cm (11 1/2 in.) Detroit Institute of Arts, City of Detroit Purchase Bridgeman Images |
Washington, DC—The first exhibition of its kind in the United States, Sharing Images: Renaissance Prints into Maiolica and Bronze,
brings together some 90 objects to highlight the impact of Renaissance
prints on maiolica and bronze plaquettes. Accompanied by a publication
that provides a comprehensive introduction to different aspects of the
phenomenon—from the role of 15th-century prints and the rediscovery of
classical art to the importance of illustrated books and the artistic
exchanges between Italy and northern Europe—Sharing Images will be on view on the ground floor of the West Building from April 1 through August 5, 2018.
"This exhibition provides an unprecedented opportunity to examine the
extent and depth of prints, plaquettes, and maiolica in the Gallery's
collection," said Earl A. Powell III, director, National Gallery of Art.
"The visual links between these objects vividly demonstrate that
Renaissance prints, produced in large numbers and rapidly diffused, were
among the earliest viral images in European art. We are grateful for a
grant from the Eugene V. and Clare E. Thaw Charitable Trust, which made
it possible to explore the complex and unpredictable connections shared
between these works of art."
Arranged chronologically, this exhibition is inspired by the
acquisition of the William A. Clark maiolica collection from the
Corcoran Gallery of Art and draws largely on the Gallery's newly
expanded holdings of early Italian prints (founded on the Rosenwald gift
and augmented by recent acquisitions), as well as on the world-renowned
Kress collection of plaquettes and medals. It traces the metamorphosis
that designs by Andrea Mantegna, Antonio del Pollaiuolo, Raphael,
Michelangelo, Parmigianino, and Albrecht Dürer, among others, underwent
across these different media.
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| Unknown 16th Century Plate with Muses and Pierides, 1500–1599tin-glazed earthenware (maiolica) diameter: 45 cm (17 11/16 in.) Smithsonian American Art Museum, Washington, Gift of John Gellatly |
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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| Gian Jacopo Caraglio Dish with the Adoration of the Shepherds, c. 1530–1540tin-glazed earthenware (maiolica) diameter: 26 cm (10 1/4 in.) The Walters Art Museum, Baltimore, 48.1487 |
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| Francesco Xanto Avelli Pilgrim Flask with Mercury and Psyche, 1530tin-glazed earthenware (maiolica) height: 36.5 cm (14 3/8 in.) width: 22.4 cm (8 13/16 in.) The Walters Art Museum, Baltimore, 48.1373 |
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| Probably by Gironimo Tomasi Plate with Joseph's Robe Presented to Jacob, c. 1560–1575tin-glazed earthenware (maiolica) diameter: 27.6 cm (10 7/8 in.) The Metropolitan Museum of Art, Gift of Mrs. Francis P. Garvan, 1974 (1974.286) |
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| Painter of the Coal Mine Service Dish with a Battle Scene, c. 1540–1545tin-glazed earthenware (maiolica) overall: 5.7 x 41.4 cm (2 1/4 x 16 5/16 in.) The Metropolitan Museum of Art, The Friedsam Collection, Bequest of Michael Friedsam, 1931 (32.100.369) |
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| Nicola da Urbino Plate with the March of Silenus, 1524tin-glazed earthenware (maiolica) diameter: 27.5 cm (10 13/16 in.) The Metropolitan Museum of Art, Robert Lehman Collection, 1975 (1975.1.1020) © The Metropolitan Museum of Art / Art Resource, NY |
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| Workshop of Maestro Giorgio Andreoli of Gubbio Dish with the Prodigal Son, 1525tin-glazed earthenware (maiolica) diameter: 28.3 cm (11 1/8 in.) The Metropolitan Museum of Art, Robert Lehman Collection, 1975 (1975.1.1105) |
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| Francesco Xanto Avelli, lustered in the workshop of Maestro Giorgio Andreoli Dish with Laocoön, 1532tin-glazed earthenware (maiolica) diameter: 26 cm (10 1/4 in.) The Metropolitan Museum of Art, Robert Lehman Collection, 1975 (1975.1.1129) |
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| Deruta 16th Century Dish with Hercules and Antaeus, c. 1490–1500tin-glazed earthenware (maiolica) diameter: 43 cm (16 15/16 in.) The Metropolitan Museum of Art, Robert Lehman Collection, 1975 (1975.1.1033) © The Metropolitan Museum of Art / Art Resource, NY |
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| Faenza Plate with seraph, early 16th centurytin-glazed earthenware (maiolica) overall: 3.81 x 23.5 cm (1 1/2 x 9 1/4 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Faenza Plate with clasped hands, late 15th or early 16th centurytin-glazed earthenware (maiolica) overall: 2.54 x 23.5 cm (1 x 9 1/4 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Workshop of Domenico da Venezia Plate with the Triumph of Bacchus, c. 1560/1570tin-glazed earthenware (maiolica) overall: 5.08 x 30.48 cm (2 x 12 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Urbino (?) Plate with the Plague of Phrygia (after Raphael), c. 1535/1540tin-glazed earthenware (maiolica) overall: 2.54 x 26.67 cm (1 x 10 1/2 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Francesco Xanto Avelli Plate with the Sinking of the Fleet of Seleucus (from the Pucci Service), 1532tin-glazed earthenware (maiolica) overall (height by diameter): 2.54 x 25.4 cm (1 x 10 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Francesco Xanto Avelli Plate with Amphiaraus and Eriphyle (from the Hercules Service), 1532tin-glazed earthenware (maiolica) overall: 3.18 x 25.72 cm (1 1/4 x 10 1/8 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Urbino, or Lyon (?) Molded dish with Joseph's robe being presented to his father, c. 1575/1600tin-glazed earthenware (maiolica) 27.94 cm (11 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| The "In Castel Durante" Painter Dish with Orpheus Charming the Beasts, c. 1520/1525tin-glazed earthenware (maiolica) overall: 6.03 x 25.72 cm (2 3/8 x 10 1/8 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Francesco Xanto Avelli Plate with an Allegorical Scene with a Woman and a Putto, c. 1527/1530tin-glazed earthenware (maiolica) overall: 3.18 x 19.69 cm (1 1/4 x 7 3/4 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Workshop of Guido Durantino, probably by Orazio Fontana Plate with Saint Paul Preaching at Athens, c. 1535tin-glazed earthenware (maiolica) overall (height by diameter): 6.99 x 34.61 cm (2 3/4 x 13 5/8 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Painter of the Milan Marsyas Charger with Marcus Curtius Plunging into the Chasm, c. 1525/1530tin-glazed earthenware (maiolica) overall (height by diameter): 3.97 x 47.47 cm (1 9/16 x 18 11/16 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Francesco Xanto Avelli Charger with the Massacre of the Innocents, c. 1527/1530tin-glazed earthenware (maiolica) overall (diameter): 48.58 cm (19 1/8 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Deruta or Faenza Dish with Petrarch and Emperor Charles IV, c. 1470/1480tin-glazed earthenware (maiolica) overall (height by diameter): 6.35 x 38.1 cm (2 1/2 x 15 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Deruta or Faenza Basin with geometric patterns and dragon, c. 1480/1500tin-glazed earthenware (maiolica) overall (height by diameter): 4.76 x 38.42 cm (1 7/8 x 15 1/8 in.) National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection) |
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| Workshop of Maestro Giorgio Andreoli Shallow bowl with the muse Clio, c. 1535/1540tin-glazed earthenware (maiolica) overall (diameter): 26.1 cm (10 1/4 in.) National Gallery of Art, Washington, Widener Collection |
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| Workshop or follower of Francesco Xanto Avelli, lustered in the workshop of Maestro Giorgio Andreoli Shallow bowl on low foot with the death of Laocoön and his two sons, 1539tin-glazed earthenware (maiolica) overall (diameter): 27 cm (10 5/8 in.) National Gallery of Art, Washington, Widener Collection |
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| Attributed to the Painter of the Three Graces, in the workshop of Maestro Giorgio Andreoli Flat plate with a battle scene, 1525tin-glazed earthenware (maiolica) overall (diameter): 30.3 cm (11 15/16 in.) National Gallery of Art, Washington, Widener Collection |
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| Workshop of Maestro Giorgio Andreoli of Gubbio; painting attributed to the Painter of the Three Graces Plate with the reconciliation of Cupid and Minerva, 1525tin-glazed earthenware (maiolica) overall (diameter): 26 cm (10 1/4 in.) National Gallery of Art, Washington, Widener Collection |
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| Workshop of Maestro Giorgio Andreoli Shallow bowl with Hercules overcoming Antaeus, 1520tin-glazed earthenware (maiolica) overall (diameter): 24.8 cm (9 3/4 in.) National Gallery of Art, Washington, Widener Collection |
Inspired by the availability of new pigments, glazes, and printed
models, ceramics artists developed a style of decoration called istoriato
that featured recognizable subjects and narrative episodes from
classical and contemporary literature as well as biblical and ancient
history. For the first time, pottery painters conceived of the surfaces
of plates and vessels as a medium to depict stories in full color and
vivid detail. Like prints, istoriato mirrored and visualized the
interests and passions of the cultured elite while remaining accessible
to a wider market. Painters in the principal cities of istoriato production—Faenza,
Urbino, Pesaro, Gubbio—could respond to the most recent developments in
contemporary art thanks to the availability of printed images created
in major artistic centers.
While artists in the above cities were early adopters of printed
material as sources, those in Deruta, with notable exceptions, remained
attached to the style and works of local painters such as Pietro
Perugino (c. 1450–1523) and Pinturicchio (1454–1513) until the mid-16th
century. One such exception, Dish with Hercules and Antaeus (c.
1490–1500)—a spectacular Deruta plate on view in the exhibition—depicts
the interlocked bodies of the two subjects dynamically engaged in
combat. One of the earliest examples of Umbrian istoriato, the
Deruta plate illustrates how quickly artists could respond to Antonio
Pollaiuolo's (1431/2–1498) innovative and dramatic compositions of the
male nude body in motion even in relatively more conservative centers.
(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)
(Avec, comme d'habitude, un grand merci à Laurie du Service de Presse de la NGA)
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