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L'estampe gravée sur bois en couleurs, appelée « chiaroscuro »en Italie, fut expérimentée vers 1508-1510 en Allemagne avant de se diffuser dans toute l'Europe, où elle gagna en sophistication jusque dans les années 1650. Fruit de recherches techniques et artistiques visant à traduire l'impression de riches nuances de teintes, la gravure en clair-obscur fascina les artistes, qui y explorèrent l'art des ombres et des lumières. La recherche de cette esthétique particulière fait de ce type d'estampe un objet au carrefour des autres pratiques artistiques : imitant le dessin sur papier teinté ou au lavis, le sgraffito de la peinture murale ou la mosaïque de pierre, elle est néanmoins un objet autonome, où la monochromie s'offre comme une autre voie pour représenter le monde. Le présent ouvrage, richement illustré, propose un panorama chronologique et géographique à travers les chefs-d'œuvre issus des collections parisiennes (musée du Louvre, Bibliothèque nationale de France, Fondation Custodia, École des beaux-arts de Paris) et étrangères les plus prestigieuses, gravés par ou d'après les plus grands maîtres de la Renaissance et du maniérisme européen, tels que Cranach, Raphaël, Rubens, Parmigianino, Beccafumi ou Baldung Grien.

Gravure sur bois de la Renaissance --- Graphic arts --- chiaroscuro woodcuts --- Raphael --- Cranach, Lucas I --- Rubens, Peter Paul --- anno 1500-1599 --- anno 1600-1699 --- Europe

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"Cette publication résulte d'un cycle de conférences qui s'est tenu entre avril et juin 2013 au Musée des Beaux-Arts de Rouen, dans le cadre de la seconde édition du festival Normandie impressionniste et de l'exposition Eblouissants reflets : cent chefs-d'oeuvre impressionistes. Conçu comme un écho prolongeant, complétant et contextualisant l'exposition, le cycle a été élaboré sur une thématique proche - celle de la lumière, du reflet et du miroir - mais envisagée d'un point de vue diachronique et synthétique : du Moyen Âge au XXe siècle, de la peinture aux images contemporaines et aux nouveaux médias. Plusieurs approches étaient ouvertes à la réflexion, intégrant les questions aussi bien techniques et scientifiques que certains des principaux enjeux théoriques suscités par le sujet : théories optiques de la lumière, de la réflexion et de la réfraction ; rapports avec la perspective et les différentes conceptions de la couleur ; reflets et ombres colorées ; valorisation (ou "oubli") de la création d'un médium, d'une enveloppe ou d'un "air" entre les objets représentés ; construction mythique d'une "origine" de la peinture (Narcisse, Butades) ; rapport réel/imaginaire/représentation ; théorie de la mimesis et mise en abîme de la représentation ; réflexion, projection et constitution du sujet artiste et/ou du spectateur ; incidences narratives, symboliques et temporelles ; théologie et mystique de la lumière et du reflet".

Light in art --- Chiaroscuro --- Reflections in art --- Lumière dans l'art --- Clair-obscur --- Reflets dans l'art --- Congresses --- Congrès --- Lumière --- Reflets (art). --- Art --- Dans l'art. --- Thèmes, motifs.

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Light in art. --- Light and darkness in literature. --- Excavations (Archaeology) --- Lumière dans l'art --- Lumière et ténèbres dans la littérature --- Fouilles (Archéologie) --- Sadek, Ashraf I. --- Egypt --- Egypte --- Antiquities. --- Antiquités --- Festschrift - Libri Amicorum --- Lumière dans l'art --- Lumière et ténèbres dans la littérature --- Fouilles (Archéologie) --- Antiquités --- Light and darkness in literature --- Light in art --- Light and darkness in art --- Chiaroscuro --- Ashraf I. Sadek --- Ṣādiq, Ashraf Iskandar --- Ashraf Iskandar Ṣādiq --- Sadek, Ashraf Iskander --- Sadek, Ashraf Alexander --- Sadek, A. --- Religion égyptienne --- Mythologie égyptienne --- Lumière --- Égypte --- Mélanges et hommages --- Dans l'art

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Hendrick Goltzius, who was active mainly in Haarlem, was not only one of the greatest and most gifted draughtsmen in the history of art, but an engraver whose fame has never dimmed, and an accomplished painter. He was also one of the key figures in the development of the chiaroscuro woodcut. His woodcuts form an indispensable part of any survey of the greatest achievements of graphic art, and are eagerly sought after by collectors and museums. A chiaroscuro woodcut is an. Impression of two or more woodblocks, generally one line block and various tone blocks, which are printed on top of each other. The result is a colour print, usually in various shades of a single colour, which may look like a pen-and-wash drawing or an oil sketch. Some are printed on cloth, or paper textured like cloth, which adds to their painterly effect. As such, and because of their monumental impact, they were ideal for hanging on a wall as substitutes for oil. Paintings. In the catalogue Chiaroscuro Woodcuts. Hendrick Goltzius and his Time, all the woodcuts associated with Goltzius's name are described in detail and reproduced in various colour combinations. Particular attention has been paid to technical data and the description of states, and the discussion also embraces iconography and stylistic evolution. The locations of rare prints are meticulously recorded, as are those of any prints held in a number of key collections. Numerous plates bring out the variety of colour displayed in these woodcuts, and also reproduce related drawings and alternative impressions. In order to highlight Goltzius's role in the development of the technique, the book includes a discussion of prints by German and Italian artists like Hans Baldung Grien and Ugo da Carpi. More immediate precursors from the Southern Netherlands are likewise represented, including Frans Floris with some hitherto unpublished works. There are also prints by contemporaries who chose the medium of the chiaroscuro woodcut under Goltzius's influence. The vogue he initiated even led to two masterly woodcuts by Albrecht Durer, Rhinoceros and the superb Portrait of Ulrich Varnbuler, which were republished in the Netherlands a century after their origin in the chiaroscuro technique using freshly cut tone blocks. This practice is also discussed. The book is being published to coincide with an exhibition in. The Rijksprentenkabinet in Amsterdam, which can be seen from 14 November 1992 to 10 January 1993. This exhibition, for which loans have been obtained from various European and American collections, will contain impressions, in various colour combinations, of all the prints discussed, among them seven impressions of the powerful Hercules and Cacus of 1588. The exhibition has been organized in collaboration with the Cleveland Museum of Art, Cleveland, Ohio (USA), where it.

Goltzius, Hendrick --- 76 GOLTZIUS, HENDRICK --- 761 <492> --- 76 <492> "15" --- 76 <492> "16" --- 76 <492> "16" Grafische kunsten. Grafiek. Prentkunst--Nederland--17e eeuw. Periode 1600-1699 --- Grafische kunsten. Grafiek. Prentkunst--Nederland--17e eeuw. Periode 1600-1699 --- 76 <492> "15" Grafische kunsten. Grafiek. Prentkunst--Nederland--16e eeuw. Periode 1500-1599 --- Grafische kunsten. Grafiek. Prentkunst--Nederland--16e eeuw. Periode 1500-1599 --- 761 <492> Hoogdruktechnieken in de grafische kunst--Nederland --- Hoogdruktechnieken in de grafische kunst--Nederland --- 76 GOLTZIUS, HENDRICK Grafische kunsten. Grafiek. Prentkunst--GOLTZIUS, HENDRICK --- Grafische kunsten. Grafiek. Prentkunst--GOLTZIUS, HENDRICK --- Exhibitions --- CDL --- 76.071 GOLTZIUS --- Wood-engraving, Dutch --- Wood-engraving --- Chiaroscuro --- Clairobscur --- Art --- Color prints --- Light in art --- Painting --- Wood-cut --- Wood-cutting (Engraving) --- Wood-engravings --- Woodcut --- Woodcutting (Engraving) --- Xylography --- Engraving --- Prints --- Block books --- Block printing --- Dutch wood-engraving --- Technique --- Goltzius, Hendrik, --- Golʹt︠s︡ius, Gendrik --- Goltzius, Henricus --- Goltz, Hendrick, --- Goltzino --- Goltzius, Heinrick --- Geschichte --- 1558-1617 --- Clair-obscur --- Goltzius (hendrick), peintre et graveur neerlandais, 1558-1617 --- Gravure sur bois neerlandaise

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The art of the chiaroscuro woodcut is celebrated in this groundbreaking and generously illustrated book. Chiaroscuro woodcuts are among the most immediately appealing of all historic prints, displaying exquisite invention, refined draftsmanship, technical virtuosity, and sumptuous color. Printing multiple woodblocks inked in different tones to create an image, the chiaroscuro woodcut was one of the earliest, most successful forays into color printing in Europe. Following its invention in Germany, the technique was first adopted around 1516 in Italy where it flourished through the 16th century. This novel art form engaged the interests of the most celebrated artists of the Renaissance, including Titian, Raphael, Parmigianino, and Beccafumi, and underwent sophisticated developments in the hands of such printmakers as Ugo da Carpi, Antonio da Trento, Niccolò Vicentino, and Andrea Andreani. Featuring more than 100 prints and related drawings, this book incorporates pioneering art historical research and scientific analysis to present a comprehensive study of the subject. Essays trace its origins and evolution, describing both materials and means of production. Brimming with full-color illustrations of rare and beautiful works, this book offers a fresh interpretation of these remarkable prints, which exemplify the rich imagery of the Italian Renaissance. --DelMonico Books

Graphic arts --- chiaroscuro woodcuts --- Italian Renaissance-Baroque styles --- anno 1500-1599 --- Italy --- Gravure sur bois de la Renaissance --- Clair-obscur --- Gravure sur bois de la Renaissance. --- clair-obscur --- houtsneden --- renaissance --- techniek --- watermerken --- Andreani, Andrea --- Antonio da Trento --- Beccafumi, Domenico --- Parmigianino (pseud.) --- Ugo da Carpi --- Vicentino, Niccolò --- 16de eeuw --- Europa --- Italië --- zebra --- houtsnede --- renaissance (historisch tijdvak, doorheen de 16e eeuw) --- watermerk --- 761.1 --- 76 <45> "15" --- 76 <45> "16" --- 76 <45> "16" Grafische kunsten. Grafiek. Prentkunst--Italië--17e eeuw. Periode 1600-1699 --- Grafische kunsten. Grafiek. Prentkunst--Italië--17e eeuw. Periode 1600-1699 --- 76 <45> "15" Grafische kunsten. Grafiek. Prentkunst--Italië--16e eeuw. Periode 1500-1599 --- Grafische kunsten. Grafiek. Prentkunst--Italië--16e eeuw. Periode 1500-1599 --- 761.1 Hoogdruktechnieken: houtsneden --- Hoogdruktechnieken: houtsneden --- clair-obscur. --- houtsnede. --- techniek. --- watermerk. --- Ugo da Carpi. --- Antonio da Trento. --- Parmigianino (pseud.). --- Vicentino, Niccolò. --- Andreani, Andrea. --- Beccafumi, Domenico. --- 16de eeuw. --- Italië. --- Europa. --- Rops, Félicien. --- Coster, Charles de.