Invenit, incisit, imitavit : die Kupferstiche von Marcantonio Raimondi als Schlüssel zur weltweiten Raffael-Rezeption 1510-1700
Until the founding of the public museum in the 18th century, the works of Raphael were known to other artists almost exclusively from their transmission in etchings. Among these, the works of Raphaels contemporary Marcantonio Raimondi and his atelier were a critical factor in his reception. This pub...
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| Dokumenttyp: | Hochschulschrift Buch |
| Sprache: | German |
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Berlin ; Boston
: de Gruyter
, [2016]
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| Online Zugang: | Inhaltsverzeichnis Rezension Rezension |
| Bibliogr. Hinweis: | Erscheint auch als:
Invenit, Incisit, Imitavit Erscheint auch als: Invenit, Incisit, Imitavit Rezensiert in: [Rezension von: Gudrun Knaus, Invenit, incisit, imitavit. Die Kupferstiche von Marcantonio Raimondi als Schlüssel zur weltweiten Raffael-Rezeption 1510–1700] |
| Verantwortlich: | Gudrun Knaus |
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| 520 | |a Until the founding of the public museum in the 18th century, the works of Raphael were known to other artists almost exclusively from their transmission in etchings. Among these, the works of Raphaels contemporary Marcantonio Raimondi and his atelier were a critical factor in his reception. This publication examines Raimondis graphic art as a mediator for Raphaels work and an impetus for creative interest | ||
| 520 | |a Methodische Grundlagen -- Die Zusammenarbeit von Raffael und Raimondi -- Kupferstiche als Künstlerische Vorbilder -- Die Rezeption der Kupferstiche Marcantonio Raimondis -- Parmigianino -- Das italienische Skizzenbuch von Anthonis van Dyck -- Nicolas Poussin und Raimondi -- Rembrandt und Raimondi -- Arten der Aneignung von Kupferstichen -- Schlussbemerkung: die Bedeutung der Kupferstiche Marcantonio Raimondis als internationale Vermittler der Bildschöpfungen Raffaels | ||
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