The September 2020 issue of Print Quarterly (Vol. XXXVII, No. 3) has been published and contains multiple articles and notes on Dutch and Flemish artists.
The issue includes an article on Crispijn de Passe the Younger’s (1594–1670) drawing manual Van ’t Licht der teken en schildernkonst of 1643–44. The article focuses on the last 65 plates of the manual, those dedicated to animals, to demonstrate the innovative approach adopted by Crispijn. He was the first to rely on both artistic and scientific literature in building his artistic method, drawing on osteology and anatomy, as well as on geometry and perspective, largely anticipating the studies in animal anatomy that were to become popular in mid eighteenth-century Europe.
A review note on Stephanie Porras’s book Pieter Bruegel’s Historical Imagination looks at Bruegel’s artistic production in the socio-political context of sixteenth-century Brussels and Antwerp. Porras presents Bruegel as an astute, yet extremely erudite artist who, through his production, articulated an emerging Netherlandish identity.
Also included is a review note on Romeyn de Hooge (1645–1708). The book sheds light on the life of this lesser known, yet extremely prolific artist. His prints often depict the historical events of his own experience, such as the Glorious Revolution of 1688, or represent subjects popular at the time, as is the case for his illustrations to a treatise on the art of wrestling.
The issue also includes two notes on Rembrandt. One is a review of the catalogue of the Denver Art Museum’s Rembrandt: Painter as Printmaker exhibition. The publication explores both Rembrandt’s artistic method and the practice of collecting his work. The other is a review of Aude Prigot’s La Réception de Rembrandt à travers les estampes en France au XVIIIe siècle and the exhibition catalogue Rembrandt’s Mark. The two publications explore the impact of Rembrandt’s prints on artists worldwide from the eighteenth through to the twenty-first century.
CODART members might also be interested in a review note on the origins of emblem books, with case studies spanning Italian, German and Netherlandish early sixteenth-century publications, and a review on the Piscator Bible. The Piscator Bible is an edition of the sacred text first published in 1639 by Claes Jansz Visscher (1587–1652), also known by his Latin name Nicolas Joannes Piscator. It included many illustrations by Dutch printmakers such as the Wierix brothers, Hendrick Goltzius and the Sadeler dynasty. The catalogue, written in Russian, focuses on a 1643 edition formerly in the possession of Simon, Archbishop of Vologda and Beloziersk in northern Russia and explores the impact of Dutch prints in Eastern and Central Europe.
A Mass of St Gregory from Santa Maria Assunta in Fiera di Primiero and Italian Indulgence Prints by Corinna T. Gallori
Two Newly Discovered Anatomy Flap Engravings by Thomas Gemini by Christina J. Faraday
Between Nature, Anatomy and Art: Crispijn de Passe’s Manual for Drawing Animals by Gaëtane Maës
Audobon’s Copperplates for Birds of America by Julie Mellby
A Friendship Portrait of J. J. Mettenleiter and J. E. Haid by Marianne A. Yule
L’uomo divino: Ludovico Lazzarelli tra il mazzo Sola Busca e i ‘Tarocchi del Mantegna’, con una proposta per Lazzaro Bastiani by Naoko Takahatake
The Invention of the Emblem Book (K. A. Enenkel, The Invention of the Emblem Book and the Transmission of Knowledge, ca. 1510–1610) by Pedro Germano Leal
Andreas Vesalius and the ‘fabrica’ in the Age of Printing: Art, Anatomy, and Printing in the Italian Renaissance by Peter Murray Jones
Pieter Bruegel’s Historical Imagination by Domenico Pino
Jerónimo Nadal’s Bible in Moscow (Евангелие Иеронима Наталиса / Gospel of Jerome Nathalis) by Waldemar Deluga
Ribera: Art of Violence by Mark McDonald
Romeyn de Hooghe (1645–1708) (The Life of Romeyn de Hooghe 1645–1708: Prints, Pamphlets, and Politics in the Dutch Golden Age) by Peter van der Coelen
Rembrandt: Painter as Printmaker by An Van Camp
Tiepolo in Milan: The Lost Frescoes of Palazzo Archinto by Domenico Pino
Canaletto & Venezia by Domenico Pino
Rembrandt’s Legacy and Influence (La Réception de Rembrandt à travers les estampes en France au XVIIIe siècle and Rembrandt’s Mark) by Elizabeth Rudy
Graphic Culture during the July Monarchy (Graphic Culture: Illustration and Artistic Enterprise in Paris, 1830–1848) by Camilla Murgia
Quiz Answer: Karl Hofer
Jan Tschichold and the New Typography by Stephen J. Bury
Cutting Edge: Modernist British Printmaking by James Finch
Barbara Jones-Hogu (1938–2017) (Barbara Jones-Hogu: Resist, Relate, Unite 1968–1975) by Paul Coldwell
Catalogue and Book Reviews
Baroque Antiquity: Archaeological Imagination in Early Modern Europe by Mark McDonald
The Piscator Bible: A Handbook for Russian Icon Painters by Waldemar Deluga
Cham: The Best Comic Strips and Graphic Novelettes, 1839–1862 by Henri Zerner
Edvard Munch: Love and Angst by Alison W. Chang
Greetings from the Barricades: Russian Political Postcards, c. 1869–1917 by Maria Starkova-Vindman
The Impact of Atelier 17 (The Women of Atelier 17: Modernist Printmaking in Midcentury New York and Atelier 17 e a Gravura Moderna nas Américas) by Samantha Rippner