Bryony Bartlett-Rawlings | The Courtauld Institute of Art (original) (raw)
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Conferences Organized by Bryony Bartlett-Rawlings
Traditionally, the history of printmaking has fallen in the space between art history and the his... more Traditionally, the history of printmaking has fallen in the space between art history and the history of the book. Often ‘reproductive’ and multiple in nature, prints have long been marginalized in art historical scholarship in favour of the traditional ‘high’ arts. The inherent complexities in the manufacture and sale of print, often involving multi-faceted networks of specialist craftsmen, artists, publishers and sellers, has also led to much confusion. Not knowing how prints are made has affected our ability to understand the medium and its aesthetic qualities. However, recent scholarship has opened up new avenues for placing prints in Renaissance and Early Modern Europe. From the techniques applied in the making of prints to the individuals involved in their production, distribution and use, current research is continuing to shape our understanding of this complex field.
This two-day conference, in collaboration with Print Quarterly, aims to showcase new developments in the study of prints, challenging and developing traditional approaches. It is organized around a series of panels dedicated to different themes and is accompanied by a pop-up display in the Courtauld's Prints and Drawings Study Room: 'Courtauld Prints: The Making of a Collection'.
Papers by Bryony Bartlett-Rawlings
Venezia Arti, Dec 11, 2019
In around 1522, the date on his engraving of St. Roch, Nicoletto da Modena reworked a print of St... more In around 1522, the date on his engraving of St. Roch, Nicoletto da Modena reworked a print of St. Sebastian of shared dimensions to create a pendant. In the second state, St. Sebastian is enlarged and placed in the front of the picture plane, focusing our attention on his body. This paper will consider how Nicoletto draws from printmakers including Marcantonio and Campagnola to revision his St. Sebastian's anatomy through sensitive tonal modelling of his flesh. Whether an epidemic of the plague in 1522-4 prompted Nicoletto to make these prints of the plague saints and whether these engravings were issued in Padua, where he is documented from around 1497-1506 will also be considered.
Traditionally, the history of printmaking has fallen in the space between art history and the his... more Traditionally, the history of printmaking has fallen in the space between art history and the history of the book. Often ‘reproductive’ and multiple in nature, prints have long been marginalized in art historical scholarship in favour of the traditional ‘high’ arts. The inherent complexities in the manufacture and sale of print, often involving multi-faceted networks of specialist craftsmen, artists, publishers and sellers, has also led to much confusion. Not knowing how prints are made has affected our ability to understand the medium and its aesthetic qualities. However, recent scholarship has opened up new avenues for placing prints in Renaissance and Early Modern Europe. From the techniques applied in the making of prints to the individuals involved in their production, distribution and use, current research is continuing to shape our understanding of this complex field.
This two-day conference, in collaboration with Print Quarterly, aims to showcase new developments in the study of prints, challenging and developing traditional approaches. It is organized around a series of panels dedicated to different themes and is accompanied by a pop-up display in the Courtauld's Prints and Drawings Study Room: 'Courtauld Prints: The Making of a Collection'.
Venezia Arti, Dec 11, 2019
In around 1522, the date on his engraving of St. Roch, Nicoletto da Modena reworked a print of St... more In around 1522, the date on his engraving of St. Roch, Nicoletto da Modena reworked a print of St. Sebastian of shared dimensions to create a pendant. In the second state, St. Sebastian is enlarged and placed in the front of the picture plane, focusing our attention on his body. This paper will consider how Nicoletto draws from printmakers including Marcantonio and Campagnola to revision his St. Sebastian's anatomy through sensitive tonal modelling of his flesh. Whether an epidemic of the plague in 1522-4 prompted Nicoletto to make these prints of the plague saints and whether these engravings were issued in Padua, where he is documented from around 1497-1506 will also be considered.