1495:
335:'s craft throughout the Medieval period, and the idea of printing engraved designs onto paper probably began as a method for them to record the designs on pieces they had sold. Some artists trained as painters became involved from about 1450–1460, although many engravers continued to come from a goldsmithing background. From the start, engraving was in the hands of the luxury tradesmen, unlike woodcut, where at least the cutting of the block was associated with the lower-status trades of carpentry, and perhaps sculptural wood-carving. Engravings were also important from very early on as models for other artists, especially painters and sculptors, and many works survive, especially from smaller cities, which take their compositions directly from prints. Serving as a pattern for artists may have been a primary purpose for the creation of many prints, especially the numerous series of
308:
358:
216:
fifteenth century the number of prints produced greatly increased as paper became freely available and cheaper, and the average artistic level fell, so that by the second half of the century the typical woodcut is a relatively crude image. The great majority of surviving 15th-century prints are religious, although these were probably the ones more likely to survive. Their makers were sometimes called "Jesus maker" or "saint-maker" in documents. As with manuscript books, monastic institutions sometimes produced, and often sold, prints. No artists can be identified with specific woodcuts until towards the end of the century.
1225:
237:
346:. This is certainly partly the result of the relative survival rates—although wealthy fifteenth-century houses certainly contained secular images on walls (inside and outside), and cloth hangings, these types of image have survived in tiny numbers. The Church was much better at retaining its images. Engravings were relatively expensive and sold to an urban middle-class that had become increasingly affluent in the belt of cities that stretched from the Netherlands down the Rhine to Southern Germany, Switzerland and Northern Italy. Engraving was also used for the same types of images as
1236:
579:
416:
other printmakers. This is highly typical of admired prints in all media until at least 1520; there was no enforceable concept of anything like copyright. Many of the
Housebook Master's print compositions are only known from copies, as none of the presumed originals have survived — a very high proportion of his original prints are only known from a single impression. The largest collection of his prints is at Amsterdam; these were probably kept as a collection, perhaps by the artist himself, from around the time of their creation.
1313:
much effort in an etched plate, as the work might be ruined by leaks in the ground. Equally, multiple stoppings-out, enabling lines etched to different depths by varying lengths of exposure to the acid, had been too risky. Callot led the way in exploiting the new possibilities; most of his etchings are small but full of tiny detail, and he developed a sense of recession in landscape backgrounds in etching with multiple bitings to etch the background more lightly than the foreground. He also used a special etching needle called an
20:
493:
155:
1162:
782:
229:
139:
1332:
538:, known as the Otto Prints after an earlier owner of most of them. This was probably the workshop's own reference set of prints, mostly round or oval, that were used to decorate the inside covers of boxes, primarily for female use. It has been suggested that boxes so decorated may have been given as gifts at weddings. The subject matter and execution of this group suggests they were intended to appeal to middle-class female taste; lovers and cupids abound, and an
1419:
435:
self-presentation, signing later prints with his name and town, and producing the first print self-portrait of himself and his wife. Some plates seem to have been reworked more than once by his workshop, or produced in more than one version, and many impressions have survived, so his ability to distribute and sell his prints was evidently sophisticated. His own compositions are often very lively, and take a great interest in the secular life of his day.
1077:
965:
704:
1457:, near the end of his long career produced some brilliant etchings, subjectless capricci of a landscape of classical ruins and pine trees, populated by an elegant band of beautiful young men and women, philosophers in fancy dress, soldiers and satyrs. Bad-tempered owls look down on the scenes. His son Domenico produced many more etchings in a similar style, but of much more conventional subjects, often reproducing his father's paintings.
1194:
obscene) subjects, and a great number of religious prints. He became increasingly interested in strong lighting effects, and very dark backgrounds. His reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left
Holland whilst he lived, but his prints were circulated throughout Europe, and his wider reputation was initially based on them alone.
883:
252:; in fact the hand-colouring of prints continued for many centuries, though dealers have removed it from many surviving examples. Italy, Germany, France and the Netherlands were the main areas of production; England does not seem to have produced any prints until about 1480. However prints are highly portable, and were transported across Europe. A Venetian document of 1441 already complains about cheap imports of
396:(c. 1450–1491), who worked in southern Germany and was also a well-known painter. His father and brother were goldsmiths, so he may well have had experience with the burin from an early age. His 116 engravings have a clear authority and beauty and became well known in Italy as well as northern Europe, as well as much copied by other engravers. He also further developed engraving technique, in particular refining
773:, developing networks of distribution that were becoming international, and much work was commissioned by them. The effect of the development of the print-selling trade is a matter of scholarly controversy, but there is no question that by the mid-century the rate of original printmaking in Italy had declined considerably from that of a generation earlier, if not as precipitously as in Germany.
127:, were dedicated printmakers. In their own day, their international reputations largely came from their prints, which were spread far more widely than their paintings. Influences between artists were also mainly transmitted beyond a single city by prints (and sometimes drawings), for the same reason. Prints therefore are frequently brought up in detailed analyses of individual paintings in
420:
1180:, like Titian before him, took great pains in adapting the trained engravers in his workshop to the particular style he wanted, though several found his demands too much and left. The generation after him produced a number of widely dispersed printmakers with very individual and personal styles; by now etching had become the normal medium for such artists.
1068:. His plates are extremely crowded, not conventionally well-drawn, but full of intensity; the opposite of the languorous elegance of the Fontainebleau prints, which were to have the greater effect on French printmaking. His prints date from 1520 to 1555, when he was seventy, and completed his masterpiece, the twenty-three prints of the Apocalypse.
467:(1426–64) invented the technique. It is now clear this is wrong, and there are now considered to be no prints as such that can be attributed to him on anything other than a speculative basis. He may never have made any printed engravings from plates, as opposed to taking impressions from work intended to be nielloed. There are a number of complex
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Fortunately his prints have always been keenly collected, and what seems to be a high proportion of his intermediate states have survived, often in only one or two impressions. He was clearly very directly involved in the printing process himself, and probably selectively wiped the plate of ink himself to produce effects
614:). A number of engravings have long been ascribed to his school or workshop, with only seven usually given to him personally. The whole group form a coherent stylistic group and very clearly reflect his style in painting and drawing, or copy surviving works of his. They seem to date from the late 1460s onwards.
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through a phase of directly copying either whole prints or large parts of Dürer's landscape backgrounds, before going on to adapt his technical advances to their own style. Copying of prints was already a large and accepted part of the printmaking culture but no prints were copied as frequently as Dürer's.
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on many impressions. He also experimented continually with the effects of different papers. He produced prints on a wider range of subjects than his paintings, with several pure landscapes, many self-portraits that are often more extravagantly fanciful than his painted ones, some erotic (at any rate
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to decorate his showpiece
Chateau at Fontainebleau. In the course of the long project, etchings were produced, in unknown circumstances but apparently in Fontainebleau itself and mostly in the 1540s, mostly recording wall-paintings and plasterwork in the Chateau (much now destroyed). Technically they
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In the last five years of the fifteenth century, Dürer, then in his late twenties and with his own workshop in
Nuremberg, began to produce woodcuts and engravings of the highest quality which spread very quickly through the artistic centres of Europe. By about 1505 most young Italian printmakers went
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would produce; he may have invented this technique. Consequently, only a few impressions could be produced from each plate—perhaps about twenty—although some plates were reworked to prolong their life. Despite this limitation, his prints were clearly widely circulated, as many copies of them exist by
384:
background, active from about 1450–1467, and the first to sign his prints with a monogram in the plate. He made significant technical developments, which allowed more impressions to be taken from each plate. Many of his faces have a rather pudding-like appearance, which reduces the impact of what are
215:
The earliest print images are mostly of a high artistic standard, and were clearly designed by artists with a background in painting (on walls, panels or manuscripts). Whether these artists cut the blocks themselves, or only inked the design on the block for another to carve, is not known. During the
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Callot's technical innovations in improving the recipes for etching ground were crucial in allowing etching to rival the detail of engraving, and in the long term spelt the end of artistic engraving. Previously the unreliable nature of the grounds used meant that artists could not risk investing too
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After the deaths of this very brilliant generation, both the quality and quantity of German original printmaking suffered a strange collapse; perhaps it became impossible to sustain a convincing
Northern style in the face of overwhelming Italian productions in a "commoditized" Renaissance style. The
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had a prodigious natural talent for engraving, and his earlier prints were highly successful, with an often earthy treatment and brilliant technique, so that he came to be seen as Dürer's main rival in the North. However, his later prints suffered from straining after an
Italian grandeur, which left
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world, Italian engraving caught the very early
Renaissance, and from the start the prints are mostly larger, more open in atmosphere, and feature classical and exotic subjects. They are less densely worked, and usually do not use cross-hatching. From about 1460–1490 two styles developed in Florence,
1522:
often look as though they are illustrating some unwritten work of fiction, but their meaning must be elucidated from their titles, often containing several meanings, and the brief comments recorded by him about many of them. His prints show from early on the macabre world that appears only in hints
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during the 1620s when his career as a painter seems to have been in the doldrums. When the painting commissions began to flow again, he all but abandoned printmaking. His plates were sold after his death to a Rome publisher, who made a better job of marketing them than Ribera himself. His powerful
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was as technically unconventional as he was in subject-matter and everything else, pioneering a relief etching process that was later to become the dominant technique of commercial illustration for a time. Many of his prints are pages for his books, with text and image on the same plate, as in the
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Dürer was also a painter, but few of his paintings could be seen except by those with good access to private houses in the
Nuremberg area. The lesson of how he, following more spectacularly in the footsteps of Schongauer and Mantegna, was able so quickly to develop a continent-wide reputation very
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in
England were little concerned with technical printmaking effects; in many he was producing reproductive prints of his own paintings (a surprisingly rare thing to do) that only set out to convey his crowded moral compositions as clearly as possible. It would not be possible, without knowing, to
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shortly after his death. No surviving painting of his can be identified with confidence, and most of those sometimes attributed to him are unimpressive. His prints, mostly religious, are
Baroque extravaganzas that were regarded with horror by many 19th century critics, but have come strongly back
995:
was the major printmaker of the Mantuan school, which preserved rather more individuality than Rome. Much of his work was reproductive, but his original prints are often very fine. He visited Antwerp, a reflection of the power the publishers there now had over what was now a European market for
764:
The Italian partnerships were artistically and commercially successful, and inevitably attracted other printmakers who simply copied paintings independently to make wholly reproductive prints. Especially in Italy, these prints, of greatly varying quality, came to dominate the market and tended to
451:
both appeared in Northern Italy within a few decades of their invention north of the Alps, and had similar uses and characters, though within significantly different artistic styles, and with from the start a much greater proportion of secular subjects. The earliest known Italian woodcut has been
219:
The little evidence we have suggests that woodcut prints became relatively common and cheap during the fifteenth century, and were affordable by skilled workers in towns. For example, what may be the earliest surviving Italian print, the "Madonna of the Fire", was hanging by a nail to a wall in a
76:
that grew rapidly alongside the artistic print from the 15th century onwards. Fifteenth-century prints are sufficiently rare that they are classed as old master prints even if they are of crude or merely workmanlike artistic quality. A date of about 1830 is usually taken as marking the end of the
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Goltzius, arguably the last great engraver, took Cort's style to its furthest point. Because of a childhood accident, he drew with his whole arm, and his use of the swelling line, altering the profile of the burin to thicken or diminish the line as it moved, is unmatched. He was extraordinarily
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when he was a young artist. His etching technique was extremely fluent, and in all mediums he often repeats the same few subjects in a large number of totally different compositions. His early prints include a number of bravura treatments of classical and pastoral themes, whilst later religious
1393:
The last third of the century produced relatively little original printmaking of great interest, although illustrative printmaking reached a high level of quality. French portrait prints, most often copied from paintings, were the finest in Europe and often extremely brilliant, with the school
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to produce swelling lines like those created by the burin in an engraving, and also reinforced the etched lines with a burin after biting; which soon became common practice among etchers. Callot etched a great variety of subjects in over 1400 prints, from grotesques to his tiny but extremely
756:
in Rome, almost simultaneously began to collaborate with printmakers to make prints to their designs. Titian at this stage worked with Domenico Campagnola and others on woodcuts, whilst Raphael worked with Raimondi on engravings, for which many of Raphael's drawings survive. Rather later, the
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bought a printing-press for his house in the days of his early prosperity, and continued to produce etchings (always so called collectively, although Rembrandt mixed techniques by adding engraving and drypoint to some of his etchings) until his bankruptcy, when he lost both house and press.
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in 1428. The school caught fire, and the crowd who gathered to watch saw the print carried up into the air by the fire, before falling down into the crowd. This was regarded as a miraculous escape and the print was carried to Forlì Cathedral, where it remains, since 1636 in a special chapel,
1562:, which consisted of seventy-one etchings with mezzotint that were influential on landscape artists; according to Linda Hults, this series of prints amounts to "Turner's manual of landscape types, and ... a statement of his philosophy of landscape." With the relatively few etchings of
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Meanwhile, numerous other engravers in the Netherlands continued to produce vast numbers of reproductive and illustrative prints of widely varying degrees of quality and appeal—the two by no means always going together. Notable dynasties, often publishers as well as artists, include the
940:, spent most of his adult career in England, then and for long after too primitive as both a market and in technical assistance to support fine printmaking. Whilst the famous blockcutter Hans Lützelburger was alive, he created from Holbein's designs the famous small woodcut series of the
1453:—well over a hundred huge plates—were backed by a serious understanding of Roman and modern architecture and brilliantly exploit the drama both of the ancient ruins and Baroque Rome. Many prints of Roman views had been produced before, but Piranesi's vision has become the benchmark.
434:
was an engraver from the borders of Germany and the Netherlands, who probably trained with Master ES, and ran the most productive workshop for engravings of the century between about 1465 and 1503. He produced over 600 plates, most copies of other prints, and was more sophisticated in
856:
before apparently visiting Italy, where he formed his own synthesis of Northern and Italian styles, which he applied in painting and woodcut, mostly for books, but with many significant "single-leaf" (i.e. individual) prints. He is now generally credited with inventing the coloured
1464:(many of them in fact Irish) and by French printmakers in a variety of techniques. French attempts to produce high quality colour prints were successful by the last part of the century, although the techniques were expensive. Prints could now be produced that closely resembled
838:. Neither Hopfer nor the other members of his family who continued his style were trained or natural artists, but many of their images have great charm, and their "ornament prints", made essentially as patterns for craftsmen in various fields, spread their influence widely.
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only the technique applied to far less dynamic compositions. Like Dürer, he had a "flirtation" with etching, but on copper rather than iron. His Dutch successors for some time continued to be heavily under the spell of Italy, which they took most of the century to digest.
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to produce prints of his paintings (Titian having secured his "privileges" or rights to exclusively reproduce his own works). Titian took considerable trouble to get the effect he wanted; he said that Cort could not work from the painting alone, so he produced special
1328:, a Parisian illustrative etcher popularized Callot's methods in a hugely successful manual for students. His own work is successful in his declared aim of making etchings look like engravings, and is highly evocative of French life at the middle of the century.
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which remained the largest centre of Italian engraving. These are called (although the terms are less often used now) the "Fine Manner" and the "Broad Manner", referring to the typical thickness of the lines used. The leading artists in the Fine Manner are
825:
produced some Italianate religious prints, but he is most famous for his very Northern landscapes of drooping larches and firs, which are highly innovative in painting as well as prints. He was among the most effective early users of the technique of
1366:, and then followed his Royalist patron into a new exile in Antwerp, where he worked with a number of the large publishers there). He produced great numbers of etchings in a straightforward realist style, many topographical, including large
275:) woodcut can be printed easily together with movable type, and after this invention arrived in Europe about 1450 printers quickly came to include woodcuts in their books. Some book owners also pasted prints into prayer books in particular.
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religious scenes that he probably executed, and may or may not have designed, which were influential for the Florentine style in engraving. Some paper impressions and sulphur casts survive from these. These are a number of paxes in the
225:
displayed once a year. Like the majority of prints before approximately 1460, only a single impression (the term used for a copy of an old master print; "copy" is used for a print copying another print) of this print has survived.
247:
Woodcut blocks are printed with light pressure, and are capable of printing several thousand impressions, and even at this period some prints may well have been produced in that quantity. Many prints were hand-coloured, mostly in
745:. With an increasing pace of innovation in art, and of a critical interest among a non-professional public, reliable depictions of paintings filled an obvious need. In time this demand was almost to smother the old master print.
1487:, a German of Polish origin who produced over a thousand small etchings. Mainly illustrations for books, these are wonderfully drawn, and follow the spirit of the times, through the cult of sentiment to the revolutionary and
865:
was Dürer's pupil, and was left in charge of the Nuremberg workshop during Dürer's second Italian trip. He had no difficulty in maintaining a highly personal style in woodcut, and produced some very powerful images.
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for him to use. Eventually, the results were highly effective and successful, and after Titian's death Cort moved to Rome, where he taught a number of the most successful printmakers of the next generation, notably
298:
was apprenticed to Wolgemut during the early stages of the project, and was the godson of Anton Koberger, its printer and publisher. Dürer's career was to take the art of the woodcut to its highest development.
944:. Another Holbein series, of ninety-one Old Testament scenes, in a much simpler style, was the most popular of attempts by several artists to create Protestant religious imagery. Both series were published in
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prolific, and the artistic, if not the technical, quality of his work is very variable, but his finest prints look forward to the energy of Rubens, and are as sensuous in their use of line as he is in paint.
262:
were a very popular form of (short) book, where a page with both pictures and text was cut as a single woodcut. They were much cheaper than manuscript books, and were mostly produced in the Netherlands; the
1129:, another Cort-trained artist, who escaped to paint, was producing prints in a totally different style; beautifully drawn but simply engraved. He only etched one plate himself, a superb landscape, the
131:. Today, thanks to colour photo reproductions, and public galleries, their paintings are much better known, whilst their prints are only rarely exhibited, for conservation reasons. But some museum
1096:
was an Antwerp engraver, trained in Cock's publishing house, with a controlled but vigorous style, and excellent at depicting dramatic lighting effects. He went to Italy and in 1565 was retained by
796:
Although no artist anywhere from 1500 to 1550 could ignore Dürer, several artists in his wake had no difficulty maintaining highly distinctive styles, often with little influence from him.
748:
Dürer never copied any of his paintings directly into prints, although some of his portraits base a painting and a print on the same drawing, which is very similar. The next stage began when
282:
By the last quarter of the century there was a large demand for woodcuts for book-illustrations, and in both Germany and Italy standards at the top end of the market improved considerably.
1537:
from after 1810, but unpublished for fifty years after). Rather too many further editions were published after his death, when his delicate aquatint tone had been worn down, or reworked.
808:
woodcut technique. His style later softened, and took in the influence of Dürer, but he concentrated his efforts on painting, in which he became dominant in Protestant Germany, based in
354:, but many seem to have been collected for keeping out of sight in an album or book, to judge by the excellent state of preservation of many pieces of paper over five hundred years old.
1435:
distinguish these from his original prints, which have the same aim. He priced his prints to reach a middle and even upper working-class market, and was brilliantly successful in this.
901:
is a term for a group of several printmakers, who all produced very small finely detailed engravings for a largely bourgeois market, combining in miniature elements from Dürer and from
610:, was the most influential figure in Italian engraving of the century, although it is still debated whether he actually engraved any plates himself (a debate revived in recent years by
765:
push out original printmaking, which declined noticeably from about 1530–1540 in Italy. By now some publisher/dealers had become important, especially Dutch and Flemish operators like
729:
Prints copying prints were already common, and many fifteenth century prints must have been copies of paintings, but not intended to be seen as such, but as images in their own right.
1483:
led to a demand for small, highly expressive, illustrations for them. Many fine French and other artists specialised in these, but clearly standing out from the pack is the work of
1259:
subjects predominate. He also produced a large series of small heads of exotically dressed men, which were often used by other artists. He was technically innovative, inventing the
385:
otherwise fine works. Much of his work still has great charm, and the secular and comic subjects he engraved are almost never found in the surviving painting of the period. Like the
2017:
Landau and Parshall develop the traditional view of decline, which Bury contests in his Introduction, pp. 9–12, and seeks to demonstrate the opposite view throughout his work.
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prints. A number of printmakers, mostly in etching, continued to produce excellent prints, but mostly as a sideline to either painting or reproductive printmaking. They include
981:
Some Italian printmakers went in a very different direction to either Raimondi and his followers, or the Germans, and used the medium for experimentation and very personal work.
208:
in 1395. However, the most impressive printed European images to survive from before 1400 are printed on cloth, for use as hangings on walls or furniture, including altars and
135:
allow visitors to see their collection, sometimes only by appointment, and large museums now present great numbers of prints online in very high-resolution enlargeable images.
1221:
peasant scenes. None was very prolific, but the Italianate landscape was the most popular type of subject; Berchem had a greater income from his prints than his paintings.
407:. He was a highly talented German artist who is also known from drawings, especially the Housebook album from which he takes his name. His prints were made exclusively in
200:, slightly later, and was being manufactured in Italy by the end of the thirteenth century, and in Burgundy and Germany by the end of the fourteenth. Religious images and
1374:
was something of an Italian counterpart to Callot, producing many very detailed small etchings, but also larger and freer works, closer to the Italian drawing tradition.
232:
Anonymous German 15th-century woodcut, about 1480, with hand-colouring, including (unusually) spots of gold. 5.2 x 3.9 cm (similar to the original size on most screens)
1544:
15th century block-books. The Romantic Movement saw a revival in original printmaking in several countries, with Germany taking a large part once again; many of the
1585:
gradually became the most important printmaking technique over the same period, especially as it became more effective in using several colours in the same print.
2824:
342:
The surviving engravings, though the majority are religious, show a greater proportion of secular images than other types of art from the period, including
1460:
The technical means at the disposal of reproductive printmakers continued to develop, and many superb and sought-after prints were produced by the English
188:
The oldest technique is woodcut, or woodblock printing, which was invented as a method for printing on cloth in China. This had reached Europe via the
100:, although there are others. Different techniques are often combined in a single print. With rare exceptions printed on textiles, such as silk, or on
1045:
are mostly rather poor—dry and uneven—but the best powerfully evoke the strange and sophisticated atmosphere of the time. Many of the best are by
1494:
531:(right), the masterpiece of 15th-century Florentine engraving. This uses a new zigzag "return stroke" for modelling, which he probably invented.
558:" cards, which are not playing cards, but a sort of educational tool for young humanists with fifty cards, featuring the Planets and Spheres,
800:
was only a year younger than Dürer, but he was about thirty before he began to make woodcuts, in an intense Northern style reminiscent of
2044:
Mayor, 228, 304–308, 567. Bartrum (1995), 11–12, 144, 158, 183–197. Landau and Parshall, 323–328 (Hopfers); 202–209, 337–346 (Altdorfer).
641:
For a brief period a number of artists who began by copying Dürer made very fine prints in a range of individual styles. They included
2817:
905:, and concentrating on secular, often mythological and erotic, rather than on religious themes. The most talented were the brothers
1301:
has enjoyed a comparable revival. He was the first Lorraine printmaker (or artist) of stature, and must have influenced the younger
1570:
1382:
for which he only etched a few of the heads himself, but in a brilliant style, that had great influence on 19th century etching.
1449:
was primarily a printmaker, a technical innovator who extended the life of his plates beyond what was previously possible. His
1390:, which in the hands of better artists than he was to become an important, mostly reproductive, technique in the 18th century.
2693:
2676:
956:
Netherlands now became more important for the production of prints, which would remain the case until the late 18th century.
2810:
2792:
1523:
in the paintings until the last years. They were nearly all published in several series, of which the most famous are:
1320:
669:, but even their early prints show classicizing tendencies as well as Northern influence. The styles of the Florentine
1133:, but produced many drawings for the Antwerp specialists to work up, of peasant life, satires, and newsworthy events.
2783:
2743:
2707:
2672:
2658:
2623:
2609:
2583:
2568:
2551:
2537:
2523:
2509:
2492:
2484:
2470:
2456:
2439:
2422:
480:, New York which depict scenes with large and well-organised crowds of small figures. There are also drawings in the
741:), or drawings for it, which were perhaps the first prints intended to be understood as depicting paintings—called
633:
largely through his prints was not lost on other painters, who began to take much greater interest in printmaking.
1593:
Printmakers who signed their work often added inscriptions which characterised the nature of their contribution.
1282:
and direct style developed almost immediately, and his subjects and style remain close to those of his paintings.
1201:
produced original prints of quality, mostly sticking to the same categories of genre they painted. The eccentric
279:
were another notable use of prints, and French versions are the basis of the traditional sets still in use today.
852:'s neighbour and rival, was slightly older than Dürer, and had a parallel career in some respects, training with
527:
501:
1445:, they are rather different from his painted ones, and fully aware of the possibilities of the etching medium.
212:. Some were used as a pattern to embroider over. Some religious images were used as bandages, to speed healing.
2995:
1247:
1229:
1855:
Shestack (1967a), numbers 34–115. Landau and Parshall, 50–56. Mayor, 130–135. Spangeberg, 5–7. Bartrum, 20–21.
1846:
Shestack (1967b). Shestack (1967a), numbers 4–19. Spangeberg, 1–3. Mayor, 118–123. Landau and Parshall, 46–50.
1410:, and produced over two hundred brilliantly engraved portraits of the court and other notable French figures.
761:
were copied in etchings, apparently in a brief organised programme including many of the painters themselves.
357:
108:. This article is concerned with the artistic, historical and social aspects of the subject; the article on
2395:
372:
Again unlike woodcut, identifiable artists are found from the start. The German, or possibly German-Swiss,
2752:
1020:
produced a few influential etchings, while Annibale's brother Agostino engraved. Both brothers influenced
2990:
373:
318:
1972:
Levinson, 289–334, 390–414. Landau and Parshall, 65–102 (see also index). Mayor, 143–156, 173, 223, 232.
307:
1529:
1500:
1446:
1423:
1057:. Several of the artists, including Davent, later went to Paris and continued to produce prints there.
477:
1358:) artist who fled his country in the Thirty Years War, settling mostly in England (he was besieged at
1198:
1176:
The 17th century saw a continuing increase in the volume of commercial and reproductive printmaking;
1126:
688:
695:
in these years, as well as an engraver of charming mythological scenes, often with an erotic theme.
937:
1037:
797:
758:
534:
A chance survival is a collection of mostly rather crudely executed Florentine prints now in the
933:
leanings, who was perhaps therefore forced to spend much of his time producing ornament prints.
236:
2959:
1578:
522:
496:
271:) was the most famous; thirteen different sets of blocks are known. As a relief technique (see
1394:
including both etching and engraving, often in the same work. The most important artists were
2116:
Bury. Reed and Walsh, 105–114 on Annibale and subsequent artists in etching. Mayor, 410, 516.
1224:
691:, once known as "Master IB with the Bird" from his monogram, was the major Italian artist in
2053:
Bartrum (1995), 130–146. Landau and Parshall, see index, 179–202 on the chiaroscuro woodcut.
801:
2985:
2410:
1454:
902:
738:
658:
431:
424:
290:, the master of the largest workshop there worked on many projects, including the gigantic
241:
2477:
Livelier than Life, The Master of the Amsterdam Cabinet, or the Housebook Master 1470–1500
8:
1399:
1371:
1111:
1041:
922:
858:
291:
37:
1563:
1476:. Some original prints were produced in these methods, but few major artists used them.
1235:
2748:
2578:. Boston, Mass.: Houghton Mifflin Co. (reprinted by Dover Publications, New York, 1963
2563:. Boston, Mass.: Houghton Mifflin Co. (reprinted by Dover Publications, New York, 1963
2556:
2544:
Landmarks in Print Collecting: connoisseurs and donors at the British Museum since 1753
1484:
1367:
1340:
1298:
1218:
1206:
871:
822:
674:
670:
662:
518:
112:
summarizes the techniques used in making old master prints, from a modern perspective.
1945:
Bartrum (2002). Bartrum (1995), 22–63. Landau and Parshall, see index. Mayor, 258–281.
411:, scratching his lines on the plate to leave a much shallower line than an engraver's
2980:
2941:
2739:
2717:
2703:
2689:
2668:
2654:
2640:
2619:
2605:
2579:
2564:
2547:
2533:
2519:
2505:
2488:
2480:
2466:
2452:
2435:
2418:
1798:
1545:
1383:
1363:
1289:
1115:
1087:
1017:
1013:
1009:
853:
682:
642:
555:
412:
393:
24:
2774:
1277:
may have learned etching in Rome, but all his fewer than thirty prints were made in
1271:
effects (contrasts of light and dark), using a number of very different approaches.
681:
are still based in Italian painting of the period, and are also later influenced by
623:
578:
295:
148:
116:
2686:
Raphael, Dürer, and Marcantonio Raimondi, Copying and the Italian Renaissance Print
2497:
1549:
1375:
1293:
1285:
1274:
1210:
1202:
1142:
1107:
1082:
1054:
1005:
815:
789:
481:
404:
287:
19:
1797:
A number have survived pasted on the inside of the lids of boxes or chests, like
2881:
2787:
2757:, third revised edition (at Internet Archive). New York: Charles Scribner's Sons.
1990:
Pon. Landau & Parshall, chapter IV, whose emphasis is disputed by Bury, 9–12.
1581:
rejuvenated the traditional monochrome techniques, even including woodcut, while
1574:
1558:
1553:
1431:
1403:
997:
770:
730:
611:
599:
464:
423:
The first self-portrait, by the first businessman in the history of printmaking,
336:
171:
167:
812:, handing over his very productive studio to his son at a relatively early age.
542:
shows a near-naked young man tied to a stake and being beaten by several women.
492:
2597:
2444:
2427:
2197:
Mayor, 467–471. Spangeberg, 156–158 (Seghers), 170 (van Ostade), 177 (Berchem).
1605:
indicates that a portrait was done "from life" and not after a painting, e.g.,
1515:
1509:
1441:
was also a highly successful painter, and though his relatively few prints are
1302:
1240:
1214:
1150:
1146:
1093:
898:
841:
766:
570:
and the four Virtues, as well as "the Conditions of Man" from Pope to peasant.
535:
514:
397:
159:
124:
73:
1378:
produced only a large series of portrait prints of contemporary notables, the
2974:
2874:
1552:
etched many landscapes and buildings in an effective, straightforward style.
1540:
1402:, whose combination of engraving and etching influenced many later artists.
1395:
1347:
1325:
1161:
1138:
1065:
992:
974:
831:
351:
253:
201:
197:
154:
781:
228:
204:
are documented as being produced on paper, probably printed, by a German in
2864:
2844:
1359:
1331:
1189:
1001:
986:
982:
910:
906:
890:
862:
722:
708:
567:
377:
361:
313:
276:
268:
143:
138:
64:, and there is no easy alternative in English to distinguish the works of "
2780:
1064:, a goldsmith whose highly personal style seems halfway between Dürer and
2921:
2916:
2896:
2859:
2833:
1582:
1573:
and 20th centuries, in a great variety of techniques. In particular the
1488:
1473:
1297:
into fashion—the very different Baroque style of another Lorraine artist
1268:
1050:
1046:
949:
914:
805:
386:
272:
249:
163:
128:
109:
69:
53:
1418:
1060:
Previously the only consistent printmaker of stature in France had been
376:
was active by at least the 1440s; he was clearly a trained painter. The
2946:
2926:
2901:
1264:
1061:
1021:
930:
509:
259:
132:
1267:
intended to be a final product. He, like Rembrandt, was interested in
1076:
964:
554:, from the 1460s, which probably produced both sets of the so-called "
60:
process within the Western tradition. The term remains current in the
2936:
2906:
2781:
Large list of links to museum etc. online images of old master prints
2314:
Griffiths (1996), 134–158 on English mezzotints and their collectors.
2080:
Bartrum (1995), 99–129. Mayor, 315–317. Landau and Parshall, 315–316.
1461:
1438:
1407:
1387:
1370:, portraits, and others showing costumes, occupations and pastimes.
1336:
1183:
1169:
849:
712:
646:
592:
448:
389:
in Italy, much of his work was probably intended to appeal to women.
381:
332:
283:
162:
of about 1455 shows a large coloured print attached to the wall with
120:
93:
85:
61:
33:
2721:
2644:
1012:, who only produced nine prints, presumably because it did not pay.
2931:
2911:
1566:
the period of the old master print can be said to come to an end.
1519:
1505:
1260:
1255:
969:
926:
867:
845:
835:
583:
539:
473:
453:
408:
97:
65:
57:
29:
882:
221:
2891:
2854:
2797:
2651:
The Revelation of Saint John; Apocalypse Engravings by Jean Duvet
1465:
1386:
was a German soldier and courtier, who invented the technique of
1351:
1118:, the last major Italian artist to resist the spread of etching.
1102:
1025:
918:
827:
753:
703:
692:
678:
587:
551:
517:
and the "Master of the Vienna Passion", and in the Broad Manner,
444:
347:
343:
209:
205:
192:
world before 1300, as a method of printing patterns on textiles.
189:
89:
81:
2415:
Goya's Prints, The Tomás Harris Collection in the British Museum
1810:
Landau and Parshall, 34–42. Mayor, 32–60. Bartrum (1995), 17–19.
917:, they came from Nuremberg and were expelled by the council for
460:
typically claimed that his fellow-Florentine, the goldsmith and
2886:
2793:
Washington Post review of NGA exhibition on C15 German woodcuts
2479:, Rijksmuseum/Garry Schwartz/Princeton University Press, 1985,
1469:
1442:
1413:
1355:
1278:
1177:
1097:
809:
749:
654:
650:
607:
559:
468:
461:
457:
101:
2802:
2593:, The University of Wisconsin Press, Madison, Wisconsin, 1996,
1936:
Landau and Parshall, 65–71. Mayor, 187–197. Spangeberg, 16–17.
1708:
show who painted the picture from which the engraving was made
80:
The main techniques used, in order of their introduction, are
2869:
1480:
1306:
1251:
985:
produced some etchings himself, and also worked closely with
717:
603:
563:
193:
105:
2667:, Princeton, NJ: Metropolitan Museum of Art/Princeton U. P.
1254:
and was greatly influenced by the stays there of Rubens and
1243:, 13.7 x 10.5 cm, showing the use of multiple stoppings-out
945:
921:
for a period. The other principal member of the group was
874:
technique, in which his most distinctive prints were made.
666:
419:
240:
A woodcut of St Christopher dated 1423 (southern Germany);
2849:
2678:
Prints & people: a social history of printed pictures
2637:
Early Italian Engravings from the National Gallery of Art
2630:
Battle of the Nudes: Pollaiuolo's Renaissance Masterpiece
1696:
does not mean "lithographed by," but "printed by". Thus,
1398:, an etcher from the 1630s onwards, and his contemporary
1153:
specialised in illustrating books on new colonial areas.
2777:
from the Metropolitan Museum of Art, NY; Timeline of Art
2224:
Griffiths and Hartley. Jacobson, part X. Mayor, 453–460.
1954:
Pon. Landau and Parshall, 347–358. Bartrum (1995), 9–11.
1156:
948:
in France by a German publisher, having been created in
733:'s workshop produced a number of engravings copying his
403:
The other notable artist of this period is known as the
2591:
The Print in the Western World: An Introductory History
1761:
Landau and Parshall, 1–6, quotes 2, 33–42. Mayor, 5–10.
1698:
Lith. de C. Motte, Lith. Lasteyrie, I. lith. de Delpech
870:
was a Swiss mercenary and printmaker, who invented the
2530:
Jacques Bellange, c. 1575–1616, Printmaker of Lorraine
1653:
F., fe., f, fec., fec, fecit, fa., fac., fac, faciebat
400:
to depict volume and shade in a purely linear medium.
2775:
The Printed Image in the West: History and Techniques
1656:
indicate by whom the engraving was "made" or executed
698:
2698:
Reed, Sue Welsh & Wallace, Richard, eds. (1989)
2260:
Reed and Wallace, 234–243. Mayor, 520–521, 538, 545.
1640:
show direction or superintendence of pupil by master
1217:
Italianate landscapes with animals and figures, and
72:from the vast range of decorative, utilitarian and
2035:Landau and Parshall, 316–319, 332–333, 333 quoted.
1309:, where he greatly influenced French printmaking.
830:, recently invented as a printmaking technique by
452:mentioned above. Engraving probably came first to
438:
1981:Levinson, 440–455. Landau and Parshall, 199, 102.
1556:produced several print series including one, the
665:both spent some years in Venice before moving to
286:was the largest centre of German publishing, and
2972:
1684:refer to him who "incised" or engraved the plate
1305:, who remained in Lorraine but was published in
302:
183:
2714:Fifteenth-century Engravings of Northern Europe
2528:Griffiths, Antony & Hartley, Craig (1997),
2700:Italian Etchers of the Renaissance and Baroque
1837:Shestack (1967a), numbers 1–2. Mayor, 115–117.
1690:mark the "inventor" or designer of the picture
1209:produced landscapes in very small quantities,
77:period whose prints are covered by this term.
16:Work of art made printing on paper in the West
2818:
2504:; 2nd ed. of 1986 used, British Museum Press
1819:Bartrum, 17–63. Landau and Parshall, 167–174.
1712:S., sc., scul., sculpsit, sculpebat, sculptor
1700:refer to lithographic printing establishments
1292:, a world that was to vanish abruptly in the
645:, who succeeded in translating the new style
2614:Landau, David & Parshall, Peter (1996),
2604:, 1994, p. 470; Grunwald Center, UCLA,
2386:Mayor, 660 onwards. Spangeberg, 263 onwards.
2134:Marqusee. Jacobson, part II. Mayor, 358–359.
1918:Landau and Parshall, 71–72. Spangeberg, 4–5.
1743:. Washington, D.C.: National Gallery of Art.
1645:Ex., exc., excu., excud., excudit, excudebat
1414:Fine art printmaking after Rembrandt's death
1149:founded another long-lived family business.
804:. He was also an early experimenter in the
508:Where German engraving arrived into a still
2639:. Washington, DC: National Gallery of Art
2188:White; Mayor, 472–505; Spangeberg, 164–168.
2125:Jacobson, parts III and IV. Mayor, 354–357.
1873:Landau and Parshall, 56–63. Mayor, 138–140.
1703:
1679:
1665:
1659:
1651:
1643:
1635:
1621:
1613:
1608:Aug. de St. Aubin al vivum delin. et sculp.
1606:
1600:
2825:
2811:
2716:. Washington, DC: National Gallery of Art
2596:Karen Jacobson, ed (often wrongly cat. as
2206:Reed and Wallace, 262–271. Mayor, 526–527.
1491:fervour of the start of the 19th century.
989:on chiaroscuro woodcuts and other prints.
1891:Langdale. Landau and Parshall, 65, 72–76.
2731:Philadelphia: Philadelphia Museum of Art
2278:Griffiths (1980), 83–88. Mayor, 511–515.
1741:Fifteenth Century Woodcuts and Metalcuts
1705:P., pictor, pingebat, pinx, pinx, pinxit
1596:A list with their definitions includes:
1493:
1417:
1330:
1234:
1223:
1160:
1075:
963:
959:
881:
780:
776:
702:
577:
491:
418:
356:
306:
235:
227:
153:
137:
18:
2764:. London: British Museum/Lund Humphries
2576:An Introduction to a History of Woodcut
2516:German Printmaking in the Age of Goethe
1681:Inc., inci., incid., incidit, incidebat
196:arrived in Europe, also from China via
2973:
2514:Griffiths, Antony and Carey, Francis;
1577:, lasting from about the 1850s to the
1024:and other Italian artists of the full
617:
392:The first major artist to engrave was
2806:
2702:. Boston, Mass.: Museum of Fine Arts
2417:, 1981, British Museum Publications,
1569:Printmaking was to revive powerfully
1228:"The Raising of Lazarus", etching by
1157:17th century and the age of Rembrandt
877:
573:
115:Many great European artists, such as
2738:. Cincinnati: Cincinnati Art Museum
2632:, The Cleveland Museum of Art, 2002.
2432:German Renaissance Prints, 1490–1550
2323:Spangeberg, 221–222. Mayor, 591–600.
2152:Mayor, 419–421. Spangeberg, 107–108.
1963:Pon. Landau and Parshall, see index.
1430:The extremely popular engravings of
550:The other notable early centre was
331:Engraving on metal was part of the
104:, old master prints are printed on
13:
2653:, Paddington Press, London, 1976,
2561:A History of Engraving and Etching
1999:Pon. Landau and Parshall, 117–146.
1909:Landau and Parshall, 89. Levinson.
1882:Levinson. Landau and Parshall, 65.
1670:, describes the act of publication
1406:was official portrait engraver to
1071:
699:The rise of the reproductive print
636:
14:
3007:
2768:
1036:The Italian artists known as the
2602:The French Renaissance in Prints
2350:Mayor, 608–611. Spangeberg, 262.
1714:appear after the engraver's name
1321:Les Grandes Misères de la guerre
1239:"Massacre of the Innocents", by
1040:were hired in the 1530s by King
566:, personifications of the Seven
380:was a prolific engraver, from a
350:, notably devotional images and
2832:
2546:. London: British Museum Press
2542:Griffiths, Antony, ed. (1996),
2532:. London: British Museum Press
2451:. London: British Museum Press
2434:. London: British Museum Press
2389:
2380:
2371:
2362:
2353:
2344:
2335:
2326:
2317:
2308:
2299:
2290:
2281:
2272:
2263:
2254:
2245:
2236:
2227:
2218:
2209:
2200:
2191:
2182:
2173:
2164:
2155:
2146:
2137:
2128:
2119:
2110:
2101:
2092:
2083:
2074:
2065:
2056:
2047:
2038:
2029:
2020:
2011:
2002:
1993:
1984:
1975:
1966:
1957:
1948:
1939:
1930:
1921:
1912:
1903:
1894:
1885:
1876:
1867:
1858:
1849:
1840:
1831:
1828:Landau and Parshall, 46–51, 64.
1822:
1813:
1588:
595:, 1490–1500, School of Mantegna
439:The earliest Italian engravings
2762:The Late Etchings of Rembrandt
2736:Six Centuries of Master Prints
2518:, 1994, British Museum Press,
2465:, 2001, British Museum Press,
1804:
1791:
1782:
1773:
1764:
1755:
1746:
1733:
1724:
1548:were printmakers. In England,
1248:Giovanni Benedetto Castiglione
1145:and several of his relations.
936:Another convinced Protestant,
859:chiaroscuro (coloured) woodcut
1:
2463:The Print in Italy, 1550–1620
2449:Albrecht Dürer and his Legacy
2404:
2107:Landau and Parshall, 146–161.
1343:, Siegen's assistant or tutor
322:
303:German engraving before Dürer
256:damaging the local industry.
184:Woodcut before Albrecht Dürer
1623:D., del., delin., delineavit
1199:Dutch artists of the century
1028:period in the next century.
476:, Florence, plus one in the
366:Liebespaar auf der Rasenbank
7:
2008:Jacobson, parts III and IV.
1864:Filedt Kok. Mayor, 124–129.
525:, whose only print was the
487:
374:Master of the Playing Cards
319:Master of the Playing Cards
10:
3012:
2215:Reed and Wallace, 279–285.
1530:Los desastres de la guerra
1501:Los desastres de la guerra
707:Reproductive engraving by
621:
545:
478:Metropolitan Museum of Art
178:
2955:
2840:
2681:fully online from the MMA
1127:Pieter Brueghel the elder
1031:
689:Giovanni Battista Palumba
657:painting into engraving.
2754:How to Appreciate Prints
2734:Spangeberg, K. L., ed.,
2727:Shestack, Alan (1967b),
2618:. New Haven: Yale U. P.
2574:Hind, Arthur M. (1935),
2475:Filedt Kok, J.P. (ed.),
2170:Mayor, 373–376, 408–410.
2089:Bartrum (1995), 221–237.
2071:Bartrum (1995), 212–221.
2026:Bartrum (1995), 166–178.
1718:
1626:refer to the draughtsman
938:Hans Holbein the Younger
2712:Shestack, Alan (1967a)
2341:Bareau. Mayor, 624–631.
1739:Field, Richard (1965).
1688:Inv., invenit, inventor
1615:Aq., aquaf., aquafortis
1288:was a court painter in
1038:School of Fontainebleau
798:Lucas Cranach the Elder
759:School of Fontainebleau
2960:List of artistic media
2798:Old master prints blog
2635:Levinson, J. A., ed.,
2502:Prints and Printmaking
2098:Bartrum (1995), 12–13.
2062:Bartrum (1995), 67–80.
1704:
1680:
1666:
1660:
1652:
1648:indicate the publisher
1644:
1636:
1622:
1614:
1607:
1601:
1579:1929 Wall Street crash
1518:'s superb but violent
1512:
1427:
1344:
1244:
1232:
1173:
1141:, the Saenredams, and
1090:
978:
894:
793:
757:paintings done by the
726:
606:, and then settled in
596:
528:Battle of the Nude Men
523:Antonio del Pollaiuolo
505:
497:Antonio del Pollaiuolo
428:
369:
328:
244:
233:
175:
151:
41:
2996:Art history by medium
2616:The Renaissance Print
2411:Bareau, Juliet Wilson
2396:Weintenkampf, 278–279
2242:Hind (1923), 158–160.
1730:Griffiths (1980), 16.
1676:indicates the printer
1632:refer to the designer
1497:
1421:
1334:
1238:
1227:
1164:
1079:
977:, after Bertani, 1558
967:
960:Mannerist printmaking
909:and the longer-lived
885:
784:
777:The North after Dürer
706:
581:
495:
422:
360:
310:
239:
231:
157:
147:, 1514, engraving by
141:
22:
2760:White, Christopher,
2359:Griffiths and Carey.
2332:Mayor, 568, 591–600.
2143:Mayor, 403–407, 410.
1535:The Disasters of War
1455:Gianbattista Tiepolo
903:Marcantonio Raimondi
893:, 1542, 4.4 x 8.1 cm
739:Hampton Court Palace
711:, in this case of a
659:Marcantonio Raimondi
484:that may be by him.
432:Israhel van Meckenam
425:Israhel van Meckenam
242:John Rylands Library
2628:Langdale, Shelley,
2377:Spangeberg, 260–261
1372:Stefano della Bella
1112:Francesco Villamena
1042:Francis I of France
923:Heinrich Aldegrever
834:, an armourer from
743:reproductive prints
618:The impact of Dürer
502:Battle of the Nudes
317:, engraving by the
292:Nuremberg Chronicle
2991:Visual arts genres
2786:2016-08-23 at the
2749:Weitenkampf, Frank
2649:Michael Marqusee,
1513:
1485:Daniel Chodowiecki
1428:
1345:
1341:Wallerant Vaillant
1299:Georges de La Tour
1245:
1233:
1219:Adriaen van Ostade
1207:Jacob van Ruisdael
1197:A number of other
1174:
1091:
979:
895:
878:The Little Masters
872:white-line woodcut
823:Albrecht Altdorfer
802:Matthias Grünewald
794:
727:
675:Benedetto Montagna
671:Cristofano Robetta
663:Agostino Veneziano
597:
574:Mantegna in Mantua
519:Francesco Rosselli
506:
429:
370:
329:
245:
234:
176:
152:
42:
2968:
2967:
2942:Site-specific art
2694:978-0-300-09680-4
2688:, 2004, Yale UP,
2665:Prints and People
2663:Mayor, A. Hyatt,
2498:Griffiths, Antony
1927:Levinson, no. 83.
1618:denote the etcher
1571:later in the 19th
1546:Nazarene movement
1384:Ludwig von Siegen
1364:English Civil War
1125:At the same time
1116:Agostino Carracci
1014:Annibale Carracci
1010:Ventura Salimbeni
854:Martin Schongauer
735:Triumph of Caesar
683:Giulio Campagnola
643:Giulio Campagnola
556:Mantegna Tarocchi
394:Martin Schongauer
25:The Three Crosses
3003:
2827:
2820:
2813:
2804:
2803:
2399:
2393:
2387:
2384:
2378:
2375:
2369:
2366:
2360:
2357:
2351:
2348:
2342:
2339:
2333:
2330:
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2321:
2315:
2312:
2306:
2303:
2297:
2294:
2288:
2285:
2279:
2276:
2270:
2267:
2261:
2258:
2252:
2249:
2243:
2240:
2234:
2231:
2225:
2222:
2216:
2213:
2207:
2204:
2198:
2195:
2189:
2186:
2180:
2177:
2171:
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1637:Direx., Direxit.
1625:
1617:
1610:
1604:
1550:John Sell Cotman
1479:The rise of the
1426:'s views of Rome
1376:Anthony van Dyck
1318:powerful series
1294:Thirty Years War
1286:Jacques Bellange
1275:Jusepe de Ribera
1211:Nicolaes Berchem
1203:Hercules Seghers
1143:Aegidius Sadeler
1108:Hendrik Goltzius
1083:Farnese Hercules
1055:Antonio Fantuzzi
1006:Federico Barocci
816:Lucas van Leyden
790:Lucas van Leyden
482:Uffizi, Florence
405:Housebook Master
327:
324:
288:Michael Wolgemut
220:small school in
46:old master print
3011:
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3000:
2971:
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2951:
2882:Decorative arts
2836:
2831:
2788:Wayback Machine
2771:
2557:Hind, Arthur M.
2461:Bury, Michael;
2445:Bartrum, Giulia
2428:Bartrum, Giulia
2407:
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2305:Mayor, 576–584.
2304:
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2296:Mayor, 550–555.
2295:
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2287:Mayor, 289–290.
2286:
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2269:Mayor, 433–435.
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2233:Mayor, 455–460.
2232:
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1591:
1575:Etching Revival
1559:Liber Studiorum
1554:J. M. W. Turner
1432:William Hogarth
1416:
1404:Robert Nanteuil
1159:
1086:, engraving by
1074:
1072:The Netherlands
1034:
1016:and his cousin
998:Battista Franco
973:, engraving by
962:
887:The Little Fool
880:
788:, engraving by
779:
771:Hieronymus Cock
752:in Venice, and
701:
653:had brought to
639:
637:Italy 1500–1515
626:
620:
612:Suzanne Boorsch
602:who trained in
600:Andrea Mantegna
576:
548:
510:Gothic artistic
490:
465:Maso Finiguerra
443:Printmaking in
441:
427:, with his wife
325:
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172:NGA, Washington
168:Petrus Christus
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1303:Jacques Callot
1215:Karel Dujardin
1158:
1155:
1151:Theodor de Bry
1147:Philippe Galle
1131:Rabbit Hunters
1094:Cornelius Cort
1073:
1070:
1049:to designs by
1033:
1030:
961:
958:
942:Dance of Death
925:, a convinced
899:Little Masters
879:
876:
842:Hans Burgkmair
778:
775:
767:Philippe Galle
700:
697:
638:
635:
624:Albrecht Dürer
622:Main article:
619:
616:
575:
572:
547:
544:
536:British Museum
515:Baccio Baldini
489:
486:
456:in the 1440s;
440:
437:
398:cross-hatching
304:
301:
296:Albrecht Dürer
185:
182:
180:
177:
160:donor portrait
149:Albrecht Dürer
125:Francisco Goya
117:Albrecht Dürer
74:popular prints
68:" produced in
56:produced by a
15:
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2708:0-87846-306-2
2705:
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2697:
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2673:0-691-00326-2
2670:
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2659:0-8467-0148-0
2656:
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2552:0-7141-2609-8
2549:
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2535:
2531:
2527:
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2524:0-7141-1659-9
2521:
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2510:0-7141-2608-X
2507:
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2499:
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2493:0-691-04035-4
2490:
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2485:90-6179-060-3
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2468:
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2014:
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1987:
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1843:
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1807:
1800:
1794:
1788:Mayor, 24–27.
1785:
1779:Mayor, 14–17.
1776:
1767:
1758:
1749:
1742:
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1541:William Blake
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1451:Views of Rome
1448:
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1401:
1397:
1396:Claude Mellan
1391:
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1369:
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1361:
1357:
1353:
1349:
1348:Wenzel Hollar
1342:
1338:
1333:
1329:
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1326:Abraham Bosse
1323:
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1304:
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1263:and also the
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1166:Self-portrait
1163:
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1152:
1148:
1144:
1140:
1139:Wierix family
1134:
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1113:
1109:
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1099:
1095:
1089:
1085:
1084:
1078:
1069:
1067:
1066:William Blake
1063:
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1043:
1039:
1029:
1027:
1023:
1019:
1015:
1011:
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1003:
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993:Giorgio Ghisi
990:
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984:
976:
975:Giorgio Ghisi
972:
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839:
837:
833:
832:Daniel Hopfer
829:
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367:
363:
359:
355:
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352:playing cards
349:
345:
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338:
334:
320:
316:
315:
312:Martyrdom of
309:
300:
297:
293:
289:
285:
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278:
277:Playing cards
274:
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266:
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257:
255:
254:playing cards
251:
243:
238:
230:
226:
223:
217:
213:
211:
207:
203:
202:playing cards
199:
198:Islamic Spain
195:
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173:
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161:
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48:(also spaced
47:
39:
35:
31:
27:
26:
21:
2865:Computer art
2845:Architecture
2761:
2753:
2735:
2728:
2713:
2699:
2685:
2677:
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2629:
2615:
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2414:
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2301:
2292:
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2256:
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2184:
2175:
2166:
2157:
2148:
2139:
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2112:
2103:
2094:
2085:
2076:
2067:
2058:
2049:
2040:
2031:
2022:
2013:
2004:
1995:
1986:
1977:
1968:
1959:
1950:
1941:
1932:
1923:
1914:
1905:
1896:
1887:
1878:
1869:
1860:
1851:
1842:
1833:
1824:
1815:
1806:
1799:this example
1793:
1784:
1775:
1766:
1757:
1752:Hind (1935).
1748:
1740:
1735:
1726:
1711:
1697:
1693:
1687:
1673:
1630:Des., desig.
1629:
1595:
1592:
1589:Inscriptions
1568:
1557:
1539:
1534:
1528:
1524:
1514:
1499:
1478:
1474:watercolours
1462:mezzotinters
1459:
1450:
1437:
1429:
1392:
1380:Iconographia
1379:
1368:aerial views
1360:Basing House
1346:
1319:
1314:
1311:
1284:
1273:
1246:
1196:
1190:surface tone
1188:
1182:
1175:
1165:
1135:
1130:
1124:
1120:
1092:
1081:
1059:
1035:
1002:Il Schiavone
991:
987:Ugo da Carpi
983:Parmigianino
980:
968:
954:
941:
935:
911:Sebald Beham
907:Bartel Beham
896:
891:Sebald Beham
886:
863:Hans Baldung
840:
821:
814:
795:
786:The Milkmaid
785:
763:
747:
742:
734:
728:
723:Michelangelo
716:
709:Jacob Matham
687:
640:
631:
627:
598:
582:
568:liberal arts
549:
533:
526:
507:
500:
442:
430:
402:
391:
382:goldsmithing
378:Master E. S.
371:
365:
362:Master E. S.
341:
330:
314:St Sebastian
311:
281:
269:Ars moriendi
265:Art of Dying
264:
258:
246:
218:
214:
187:
144:Melencolia I
142:
114:
79:
49:
45:
43:
23:
2986:Printmaking
2922:Printmaking
2917:Photography
2897:Digital art
2834:Visual arts
2729:Master E.S.
2724:(Catalogue)
2684:Pon, Lisa,
2368:Hults, 522.
2251:Mayor, 344.
1583:lithography
1489:nationalist
1269:chiaroscuro
1250:grew up in
1230:Castiglione
1051:Primaticcio
1047:Leon Davent
950:Switzerland
915:Georg Pencz
806:chiaroscuro
387:Otto prints
326: 1445
273:printmaking
260:Block-books
250:watercolour
164:sealing wax
133:print rooms
129:art history
110:printmaking
70:printmaking
54:work of art
50:masterprint
2975:Categories
2947:Street art
2927:Public art
2902:Filmmaking
2405:References
1770:Mayor, 10.
1400:Jean Morin
1265:oil sketch
1062:Jean Duvet
1022:Guido Reni
931:Anabaptist
2937:Sculpture
2907:Light art
1900:Langdale.
1564:Delacroix
1525:Caprichos
1520:aquatints
1439:Canaletto
1408:Louis XIV
1388:mezzotint
1337:mezzotint
1184:Rembrandt
1170:Rembrandt
850:Nuremberg
713:sculpture
647:Giorgione
593:engraving
462:nielloist
449:engraving
339:figures.
333:goldsmith
284:Nuremberg
121:Rembrandt
94:mezzotint
86:engraving
62:art trade
40:III of IV
34:Rembrandt
2981:Printing
2932:Rock art
2912:Painting
2860:Ceramics
2784:Archived
2751:(1921).
2722:67-29080
2645:73-79624
2559:(1923),
2500:(1980),
2447:(2002),
2430:(1995),
1602:Ad vivum
1527:(1799),
1506:aquatint
1466:drawings
1447:Piranesi
1424:Piranesi
1352:Bohemian
1290:Lorraine
1261:monotype
1256:van Dyck
1103:drawings
1088:Goltzius
1018:Ludovico
970:Hercules
927:Lutheran
913:. Like
868:Urs Graf
846:Augsburg
836:Augsburg
731:Mantegna
655:Venetian
584:Hercules
562:and the
540:allegory
488:Florence
474:Bargello
454:Florence
409:drypoint
348:woodcuts
210:lecterns
98:aquatint
66:fine art
58:printing
36:, 1653,
30:drypoint
2892:Drawing
2855:Cartoon
1667:excudit
1664:, like
1498:One of
1422:One of
1362:in the
1315:échoppe
1026:Baroque
919:atheism
828:etching
754:Raphael
693:woodcut
679:Vicenza
588:Antaeus
552:Ferrara
546:Ferrara
445:woodcut
344:woodcut
337:apostle
206:Bologna
190:Islamic
179:History
90:etching
82:woodcut
52:) is a
2887:Design
2742:
2720:
2706:
2692:
2671:
2657:
2643:
2622:
2608:
2582:
2567:
2550:
2536:
2522:
2508:
2491:
2483:
2469:
2455:
2438:
2421:
1661:Formis
1470:crayon
1443:vedute
1350:was a
1335:Early
1279:Naples
1241:Callot
1178:Rubens
1172:, 1630
1098:Titian
1032:France
810:Saxony
792:, 1510
750:Titian
725:, 1593
673:, and
651:Titian
608:Mantua
560:Apollo
469:niello
458:Vasari
123:, and
102:vellum
2870:Craft
1719:Notes
1694:Lith.
1481:novel
1356:Czech
1307:Paris
1252:Genoa
1053:, or
929:with
844:from
737:(now
721:, by
718:Moses
677:from
604:Padua
564:Muses
413:burin
222:Forlì
194:Paper
158:This
106:paper
38:state
2740:ISBN
2718:LCCN
2704:ISBN
2690:ISBN
2669:ISBN
2655:ISBN
2641:LCCN
2620:ISBN
2606:ISBN
2580:ISBN
2565:ISBN
2548:ISBN
2534:ISBN
2520:ISBN
2506:ISBN
2489:ISBN
2481:ISBN
2467:ISBN
2453:ISBN
2436:ISBN
2419:ISBN
1674:Imp.
1516:Goya
1510:Goya
1213:and
1205:and
1114:and
1080:The
1008:and
946:Lyon
897:The
769:and
667:Rome
661:and
649:and
586:and
521:and
447:and
96:and
2850:Art
2600:),
1508:by
1472:or
1468:in
1339:by
1168:by
889:by
364:, "
44:An
32:by
2977::
2675:,
2487:/
2413:,
1504:,
1324:.
1110:,
1004:,
1000:,
952:.
861:.
848:,
715:,
685:.
591:,
499:,
323:c.
321:,
294:.
170:,
166:.
119:,
92:,
88:,
84:,
28:,
2826:e
2819:t
2812:v
2586:)
2571:)
2398:.
1801:.
1533:(
1354:(
368:"
267:(
174:.
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