CODART, Dutch and Flemish art in museums worldwide

Print Quarterly September 2023 (Vol. XL, No. 3) Issue Published

One major article, two notes and a book review in the September 2023 issue of Print Quarterly may be of interest to CODART members for their material relating to Dutch and Flemish artists and the wider activities of the region.

Vitalii Tkachuk’s article exploring the prints of Ukrainian engraver Averkiy Kozachkovskyi identifies many seventeenth- and eighteenth-century Dutch, German and French engravings as sources for his book illustrations printed by the press of the Orthodox monastery Kyiv of the Caves (Kyiv Pechersk Lavra). Some of these originated from compositions by Peter Paul Rubens, Cornelis Galle the Elder and Johann Theodor de Bry, etc.

The first Note of interest pertains to Daniel Godfrey’s review of Der Liegende Weibliche Akt in Malerei und Graphik der Renaissance, the published form of Anna Heinze’s PhD thesis. It illustrates the migration of image of the reclining female nude from antiquity to the Renaissance, touching upon the motif’s translation in print, mainly Dutch copies of Michelangelo compositions.

The second Note, from Mark McDonald, explores The Ruins Lesson by Susan Stewart, a grand survey of the significance of ruins in western art and literature. Early modern prints in northern Europe play an extensive role in the discussion, such as Hieronymous Cock’s Praecipua aliquot Romane antiquitatis ruinarum monimenta (The Large Book of Ruins), which showcased 25 views of Rome and celebrated the remains of Roman antiquity.

Finally, a major book review on the New Hollstein volumes for the Liefrinck Dynasty has been written by Edward W. Wouk. As expected, the two volumes discuss the work of family members across generations, starting with Cornelis, Margriet and Willem Liefrink, and ending with Hans I and his son Hans II. Lesser family members are also discussed. An important part of this review highlights the inseparable role of hand-coloring woodcuts in the early modern period, which the Liefrincks used to personalize and enhance the appeal of their products. Another notable mention is the active role several female members of the family took in the printing business.

A Copperplate of The Dominican Martyrs of Japan Reused by Murillo by Cloe Cavero de Carondelet

Averkiy Kozachkovskyi and Western Sources of Kyiv Prints, 1720s–40s by Vitalii Tkachuk

Thomas Rowlandson’s The Women of Muscovy and Other Russeries After Jean-Baptiste Le Prince by Nicholas J.S. Knowles

Screenprinting in Postwar Italy: Nuvolo and the Invention of ‘Serotipie’ by Katie Larson

Niccolò della Magna and Florentine Printing before 1493 (Niccolò di Lorenzo della Magna and the Social World of Florentine Printing, ca. 1470–1493) by Alessandra Baroni

The Renaissance Female Nude (Der Liegende Weibliche Akt in Malerei und Graphik der Renaissance) by Daniel Godfrey

Engravings and Drawings by Bernard Salomon by Ilaria Andreoli

The Ruins Lesson: Meaning and Material in Western Culture by Mark McDonald

Vatel: The Splendours of the Table During the Reign of Louis XIV by Sung Moon Cho

Francois Spierre (1639–81) (Un incisore lorenese nella Roma barocca) by Veronique Meyer

William Blake: Visionary by David Bindman

Caricature in France 1789 to Late 1800s: Continuity and Mutation by Patricia Mainardi

Important Gift of Currier & Ives Prints by Constance McPhee

Lyonel Feininger. La Ville et la Mer by Marie Gispert

The Käthe Kollwitz Museum in Cologne (Käthe Kollwitz: A Survey of Her Works 1888–1942) by Louis Marchesano

Printmaking in New Zealand (Ink on Paper. Aotearoa New Zealand Printmakers of the Modern Era and Proof. Print Council Aotearoa New Zealand: Two Decades of Printmaking) by David Maskill

Valerie Maynard – Lost and Found by Judith Brodie

Storywork: The Prints of Marie Watt by Alexander Adams

Catalogue and Book Reviews
The Liefrinck Dynasty (The New Hollstein series) by Edward H. Wouk

James Gillray: A Revolution in Satire by Mark Bills

Japanese Woodblock Prints from the Ernst Grosse Collection in Freiburg by Jeannie Kenmotsu

The Dalziel Archive and Victorian illustration (The Wood Engravers’ Self-Portrait) by Stephen Bann