{ "objects" : [ { "embark_ID" : 2163, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2163", "Disp_Access_No" : "1989.63", "_AccNumSort1" : "", "Disp_Create_DT" : "1551", "_Disp_Start_Dat" : "1551", "_Disp_End_Date" : "1551", "Disp_Title" : "Ruins of the Temple of Peace, from Praecipua Aliquot Romanae Antiquitatis Ruinarum Monimenta [Some Excellent Monuments of Ancient Roman Ruins]", "Alt_Title" : "", "Obj_Title" : "Ruins of the Temple of Peace, from Praecipua Aliquot Romanae Antiquitatis Ruinarum Monimenta [Some Excellent Monuments of Ancient Roman Ruins]", "Series_Title" : "", "Disp_Maker_1" : "Hieronymus Cock", "Sort_Artist" : "Cock, Hieronymus", "Disp_Dimen" : "30.6 cm x 39.2 cm (12 1/16 in. x 15 7/16 in.)", "Disp_Height" : "30.6 cm", "Disp_Width" : "39.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Still Water Foundation, 1989", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1989.63.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.63.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.63.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.63.tif", "IsPrimary" : "1", "_SurrogateID" : "4627", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13307, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13307", "Disp_Access_No" : "2002.2087", "_AccNumSort1" : "", "Disp_Create_DT" : "1551", "_Disp_Start_Dat" : "1551", "_Disp_End_Date" : "1551", "Disp_Title" : "Incerte Cuiusdam, from Praecipua Aliquot Romanae Antiquitatis Ruinarum Monimenta [Some Excellent Monuments of Ancient Roman Ruins]s", "Alt_Title" : "", "Obj_Title" : "Incerte Cuiusdam, from Praecipua Aliquot Romanae Antiquitatis Ruinarum Monimenta [Some Excellent Monuments of Ancient Roman Ruins]s", "Series_Title" : "", "Disp_Maker_1" : "Hieronymus Cock", "Sort_Artist" : "Cock, Hieronymus", "Disp_Dimen" : "22.6 cm x 28.2 cm (8 7/8 in. x 11 1/8 in.)", "Disp_Height" : "22.6 cm", "Disp_Width" : "28.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2087.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2087.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2087.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2087.tif", "IsPrimary" : "1", "_SurrogateID" : "1896", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2153, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2153", "Disp_Access_No" : "2002.1171", "_AccNumSort1" : "", "Disp_Create_DT" : "1549", "_Disp_Start_Dat" : "1549", "_Disp_End_Date" : "1549", "Disp_Title" : "Jacob Wrestling with the Angel, plate 7 from the Story of Jacob, after Maarten van Heemskerck", "Alt_Title" : "", "Obj_Title" : "Jacob Wrestling with the Angel, plate 7 from the Story of Jacob, after Maarten van Heemskerck", "Series_Title" : "", "Disp_Maker_1" : "Dirck Volckertsz Coornhert", "Sort_Artist" : "Coornhert, Dirck Volckertsz", "Disp_Dimen" : "36.9 cm x 28.2 cm (14 1/2 in. x 11 1/8 in.)", "Disp_Height" : "36.9 cm", "Disp_Width" : "28.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Most of Coornhert's works translate drawings by Heemskerck into an exaggerated but perfectly regular Romanist style that became an idiom of mid-century engraving. Many, in series of six to ten plates, illustrate Old Testament narratives. Jacob Wrestling with the Angel is noteworthy as a vivid impression of an alternative plate for one such series that is therefore very rare. The Steinberg Collection includes seven complete series by Coornhert and his circle, as well as several large independent plates. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1171.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1171.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1171.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1171.tif", "IsPrimary" : "1", "_SurrogateID" : "1761", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2158, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2158", "Disp_Access_No" : "2002.2095", "_AccNumSort1" : "", "Disp_Create_DT" : "1549", "_Disp_Start_Dat" : "1549", "_Disp_End_Date" : "1549", "Disp_Title" : "The Adoration of an Idol of Isis, or Admonition Against Arrogance and Undeserved Honour, after Maarten van Heemskerck", "Alt_Title" : "", "Obj_Title" : "The Adoration of an Idol of Isis, or Admonition Against Arrogance and Undeserved Honour, after Maarten van Heemskerck", "Series_Title" : "", "Disp_Maker_1" : "Dirck Volckertsz Coornhert", "Sort_Artist" : "Coornhert, Dirck Volckertsz", "Disp_Dimen" : "29.7 cm x 39.8 cm (11 11/16 in. x 15 11/16 in.)", "Disp_Height" : "29.7 cm", "Disp_Width" : "39.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2095.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2095.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2095.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2095.tif", "IsPrimary" : "1", "_SurrogateID" : "1897", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2261, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2261", "Disp_Access_No" : "2002.2098", "_AccNumSort1" : "", "Disp_Create_DT" : "1571", "_Disp_Start_Dat" : "1571", "_Disp_End_Date" : "1571", "Disp_Title" : "The Martyrdom of Saint Lawrence, after Titian ", "Alt_Title" : "", "Obj_Title" : "The Martyrdom of Saint Lawrence, after Titian ", "Series_Title" : "", "Disp_Maker_1" : "Copy after Cornelis Cort", "Sort_Artist" : "Cort, Copy after Cornelis", "Disp_Dimen" : "48.9 cm x 34.7 cm (19 1/4 in. x 13 11/16 in.)", "Disp_Height" : "48.9 cm", "Disp_Width" : "34.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2098.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2098.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2098.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2098.tif", "IsPrimary" : "1", "_SurrogateID" : "1900", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2259, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2259", "Disp_Access_No" : "2002.2096", "_AccNumSort1" : "", "Disp_Create_DT" : "1571", "_Disp_Start_Dat" : "1571", "_Disp_End_Date" : "1571", "Disp_Title" : "The Martyrdom of Saint Lawrence, after Titian", "Alt_Title" : "", "Obj_Title" : "The Martyrdom of Saint Lawrence (First Version), after Titian", "Series_Title" : "", "Disp_Maker_1" : "Cornelis Cort", "Sort_Artist" : "Cort, Cornelis", "Disp_Dimen" : "49.7 cm x 35 cm (19 9/16 in. x 13 3/4 in.)", "Disp_Height" : "49.7 cm", "Disp_Width" : "35 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "The first version of the Martyrdom of Saint Lawrence was painted for the church of Santa Maria dei Crociferi, Venice, between 1548 and 1557. It survives in the church of the Gesuiti. The second was ordered by Philip II in 1564 for the church of his Escorial Palace, delivered in 1571, and passed to the Prado. Coincident with the completion of the second version, Titian engaged Cort to engrave a composition that incorporates elements of both versions and likely depended upon a separate drawing by Titian. Cort also created a second, practically identical version (exhibited adjacent), perhaps to allow more than one publisher to issue the reproduction simultaneously. The reputation of the paintings and the popularity of the print are underscored by the existence of numerous contemporary copies. The third version exhibited is one of the most accomplished. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2096.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2096.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2096.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2096.tif", "IsPrimary" : "1", "_SurrogateID" : "1898", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2260, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2260", "Disp_Access_No" : "2002.2097", "_AccNumSort1" : "", "Disp_Create_DT" : "1571", "_Disp_Start_Dat" : "1571", "_Disp_End_Date" : "1571", "Disp_Title" : "The Martyrdom of Saint Lawrence, after Titian ", "Alt_Title" : "", "Obj_Title" : "The Martyrdom of Saint Lawrence, after Titian ", "Series_Title" : "", "Disp_Maker_1" : "Cornelis Cort", "Sort_Artist" : "Cort, Cornelis", "Disp_Dimen" : "49.4 cm x 35 cm (19 7/16 in. x 13 3/4 in.)", "Disp_Height" : "49.4 cm", "Disp_Width" : "35 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "The most innovative and influential engraver of mid-century, Cort reconciled the emphasis on design and ideal appearance with descriptive variety and the approximation of pictorial effects. In Italy from 1565, he became Titian’s preferred interpreter. The Martyrdom of Saint Lawrence combines elements from two painted versions, the earlier in the church of the Gesuiti at Venice, the later for Philip II of Spain. A measure of success, it was immediately repeated by Cort himself, then copied by another printmaker. The Collection includes very fine impressions of both, and another seven major plates by Cort. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2097.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2097.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2097.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2097.tif", "IsPrimary" : "1", "_SurrogateID" : "1899", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2271, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2271", "Disp_Access_No" : "2002.2102", "_AccNumSort1" : "", "Disp_Create_DT" : "1578", "_Disp_Start_Dat" : "1578", "_Disp_End_Date" : "1578", "Disp_Title" : "The Practitioners of the Visual Arts, after Jan van der Straet, called Stradanus", "Alt_Title" : "", "Obj_Title" : "The Practitioners of the Visual Arts, after Jan van der Straet, called Stradanus", "Series_Title" : "", "Disp_Maker_1" : "Cornelis Cort", "Sort_Artist" : "Cort, Cornelis", "Disp_Dimen" : "43.7 cm x 29.6 cm (17 3/16 in. x 11 5/8 in.)", "Disp_Height" : "43.7 cm", "Disp_Width" : "29.6 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "This composition shows artists engaged in each of the major arts and essential related studies, clockwise from the top: monumental “statuary” (with smaller scale “sculpture” at the center), painting, architecture, engraving (an unusual addition), drawing, and anatomy. Vasari had organized, and in 1563 Cosimo de’ Medici authorized, the Accademia del Disegno, the first official academy of art. Designed by Stradanus, Vasari’s close collaborator since 1550, this print is emblematic of their undertaking. The preparatory drawing for this print is at the British Museum. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2102.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2102.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2102.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2102.tif", "IsPrimary" : "1", "_SurrogateID" : "1901", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2245, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2245", "Disp_Access_No" : "2002.2103", "_AccNumSort1" : "", "Disp_Create_DT" : "1565", "_Disp_Start_Dat" : "1565", "_Disp_End_Date" : "1565", "Disp_Title" : "The Descent from the Cross, after Rogier van der Weyden", "Alt_Title" : "", "Obj_Title" : "The Descent from the Cross, after Rogier van der Weyden", "Series_Title" : "", "Disp_Maker_1" : "Cornelis Cort", "Sort_Artist" : "Cort, Cornelis", "Disp_Dimen" : "32.1 cm x 41.1 cm (12 5/8 in. x 16 3/16 in.)", "Disp_Height" : "32.1 cm", "Disp_Width" : "41.1 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "Around 1435 Rogier van der Weyden painted a triptych for the Archer’s Guild at Louvain. By 1549 the central panel, depicting the Descent from the Cross, had been acquired by Mary of Hungary, who later gave it to her nephew Philip II of Spain. Today in the Prado, Madrid, the picture is one of the masterpieces of early Netherlandish art. In 1565, undoubtedly due to recent interest in the painting, the Antwerp publisher and impresario Hieronymus Cock had Cornelis Cort engrave the composition. The resulting print was unusual for Cort, who was primarily concerned with Italianate and then Italian subjects. More important, it was the first explicit reproduction of a fifteenth-century Netherlandish painting. The print is extremely rare, however, this being one of only two impressions in the United States. The most innovative and influential engraver of the third quarter of the century, Cort reconciled the earlier emphasis on design and ideal appearance with more varied description and closer approximation of pictorial effects. Formed and first active in Cock’s workshop, he went to Italy in 1565. Becoming Titian’s preferred interpreter, he developed an unprecedentedly rich and differentiated system of engraving. Point of departure for Hendrick Goltzius in the Netherlands and Agostino Carracci in Italy, this system would help determine the development of the technique. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : " public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2103.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2103.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2103.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2103.tif", "IsPrimary" : "1", "_SurrogateID" : "1902", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2246, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2246", "Disp_Access_No" : "2002.2104", "_AccNumSort1" : "", "Disp_Create_DT" : "1566", "_Disp_Start_Dat" : "1566", "_Disp_End_Date" : "1566", "Disp_Title" : "Diana and Callisto, after Titian", "Alt_Title" : "", "Obj_Title" : "Diana and Callisto, after Titian", "Series_Title" : "", "Disp_Maker_1" : "Cornelis Cort", "Sort_Artist" : "Cort, Cornelis", "Disp_Dimen" : "44 cm x 36.7 cm (17 5/16 in. x 14 7/16 in.)", "Disp_Height" : "44 cm", "Disp_Width" : "36.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "A number of Titian’s greatest paintings of the 1550s were sent to Philip II of Spain. These included two celebrated poesie––visual equivalents of verbal poems––Diana and Callisto and its pendant, Diana and Actaeon (today in the National Galley of Scotland). Arriving in Venice in 1565, Cort undertook their reproduction and immediately set a new standard in approximating pictorial effects. He would remain Titian’s preferred interpreter and, through his influence on Agostino Carracci and Hendrick Goltzius, determine the later course of reproductive engraving. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2104.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2104.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2104.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2104.TIF", "IsPrimary" : "1", "_SurrogateID" : "9777", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 309, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/309", "Disp_Access_No" : "1983.57", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1555-1557", "_Disp_Start_Dat" : "1555", "_Disp_End_Date" : "1557", "Disp_Title" : "Rustic Market, from Large Landscapes, after Pieter Bruegel, the elder", "Alt_Title" : "", "Obj_Title" : "Rustic Market, from Large Landscapes, after Pieter Bruegel, the elder", "Series_Title" : "", "Disp_Maker_1" : "Jan and Lucas van Doetechum", "Sort_Artist" : "Doetechum, Jan and Lucas van", "Disp_Dimen" : "32.3 cm x 43.5 cm (12 11/16 in. x 17 1/8 in.)", "Disp_Height" : "32.3 cm", "Disp_Width" : "43.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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"Disp_Create_DT" : "1586", "_Disp_Start_Dat" : "1586", "_Disp_End_Date" : "1586", "Disp_Title" : "Fama and Historia, end page from The Roman Heroes", "Alt_Title" : "", "Obj_Title" : "Fama and Historia, end page from The Roman Heroes", "Series_Title" : "", "Disp_Maker_1" : "Hendrick Goltzius", "Sort_Artist" : "Goltzius, Hendrick", "Disp_Dimen" : "36.4 cm x 23.4 cm (14 5/16 in. x 9 3/16 in.)", "Disp_Height" : "36.4 cm", "Disp_Width" : "23.4 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2170.10-10.tif", "ThumbnailPath" 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: "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2171.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2171.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2171.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2171.tif", "IsPrimary" : "1", "_SurrogateID" : "1908", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11126, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11126", "Disp_Access_No" : "2002.2173.1/3", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1591-1592", "_Disp_Start_Dat" : "1591", "_Disp_End_Date" : "1592", "Disp_Title" : "The Farnese Hercules", "Alt_Title" : "", "Obj_Title" : "The Farnese Hercules", "Series_Title" : "", "Disp_Maker_1" : "Hendrick Goltzius", "Sort_Artist" : "Goltzius, Hendrick", "Disp_Dimen" : "42.2 cm x 30.4 cm (16 5/8 in. x 11 15/16 in.)", "Disp_Height" : "42.2 cm", "Disp_Width" : "30.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "This print depicts one of the most famous statues of antiquity, the monumental Hercules in the Roman collection of the noble Farnese family. It forms a series with two other engravings of the Apollo Belvedere and the Emperor Commodus as Hercules. Goltzius studied these statues and evidently prepared the engravings during a visit to Italy in 1590/91. While published only in 1617, they are capital, and justly celebrated, examples of the artist’s mature style, with virtuoso cutting, rigorous system, and extraordinary plasticity. Through this technique, Goltzius succeeded in conveying both the powerful form and lofty ethos of the prototypes. The Collection includes the complete set of the “Three Antique Roman Statues” in splendid impressions", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "2347", "Rel_Obj_Title" : "Apollo Belvedere, after the Antique" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2173.1-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2173.1-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2173.1-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2173.1-3.tif", "IsPrimary" : "1", "_SurrogateID" : "1909", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2346, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2346", "Disp_Access_No" : "2002.2173.2/3", "_AccNumSort1" : "", "Disp_Create_DT" : "1592", "_Disp_Start_Dat" : "1592", "_Disp_End_Date" : "1592", "Disp_Title" : "Commodus as Hercules, after the Antique", "Alt_Title" : "", "Obj_Title" : "Commodus as Hercules, after the Antique ", "Series_Title" : "", "Disp_Maker_1" : "Hendrick Goltzius", "Sort_Artist" : "Goltzius, Hendrick", "Disp_Dimen" : "41.5 cm x 29.3 cm (16 5/16 in. x 11 9/16 in.)", "Disp_Height" : "41.5 cm", "Disp_Width" : "29.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "By the end of the 16th century the interest in antique sculpture had begun to take a more literal, archaeological form. Quintessential examples include Hendrick Goltzius’s series of Roman Statues. The prints he completed for an unfinished set were based on drawings of many sculptures that he had made during his first and only trip to Italy—a pilgrimage that was becoming the standard for artists from all over Europe. This print shows an unprecedented attention to detail and exactness in form and plasticity. More broadly, Goltzius’s series is symptomatic of the emergence of a canon of ancient sculpture that would transform the public’s understanding, as well as the ways artists were educated, for centuries to come. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "2347", "Rel_Obj_Title" : "Apollo Belvedere, after the Antique" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2173.2-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2173.2-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2173.2-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2173.2-3.tif", "IsPrimary" : "1", "_SurrogateID" : "7279", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13374, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13374", "Disp_Access_No" : "2002.2174", "_AccNumSort1" : "", "Disp_Create_DT" : "1591", "_Disp_Start_Dat" : "1591", "_Disp_End_Date" : "1591", "Disp_Title" : "Dirck Volkertsz. Coornhert", "Alt_Title" : "", "Obj_Title" : "Dirck Volkertsz. Coornhert", "Series_Title" : "", "Disp_Maker_1" : "Hendrick Goltzius", "Sort_Artist" : "Goltzius, Hendrick", "Disp_Dimen" : "42.2 cm x 32.3 cm (16 5/8 in. x 12 11/16 in.)", "Disp_Height" : "42.2 cm", "Disp_Width" : "32.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2174.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2174.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2174.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2174.tif", "IsPrimary" : "1", "_SurrogateID" : "7270", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13379, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13379", "Disp_Access_No" : "2002.2177", "_AccNumSort1" : "", "Disp_Create_DT" : "1593", "_Disp_Start_Dat" : "1593", "_Disp_End_Date" : "1593", "Disp_Title" : "The Visitation, from Meisterstiche", "Alt_Title" : "", "Obj_Title" : "The Visitation, from Meisterstiche", "Series_Title" : "", "Disp_Maker_1" : "Hendrick Goltzius", "Sort_Artist" : "Goltzius, Hendrick", "Disp_Dimen" : "52 cm x 36.7 cm (20 1/2 in. x 14 7/16 in.)", "Disp_Height" : "52 cm", "Disp_Width" : "36.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2177.tif", "IsPrimary" : "1", "_SurrogateID" : "7271", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13380, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13380", "Disp_Access_No" : "2002.2178", "_AccNumSort1" : "", "Disp_Create_DT" : "1594", "_Disp_Start_Dat" : "1594", "_Disp_End_Date" : "1594", "Disp_Title" : "The Circumcision, from Meisterstiche", "Alt_Title" : "", "Obj_Title" : "The Circumcision, from Meisterstiche", "Series_Title" : "", "Disp_Maker_1" : "Hendrick Goltzius", "Sort_Artist" : "Goltzius, Hendrick", "Disp_Dimen" : "47.7 cm x 35.5 cm (18 3/4 in. x 14 in.)", "Disp_Height" : "47.7 cm", "Disp_Width" : "35.5 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "The great Dutch Mannerist engraver Hendrick Goltzius was one of the most historically aware engravers of the sixteenth century. At the apex of his printmaking career, he conceived a series of six, large-format engravings in the manner of different early masters of the technique. The Circumcision is his audacious homage to Dürer. While the crowded figure group and open architectural setting refers most closely to Dürer’s Circumcision from the Life of the Virgin, the variety of texture and brilliant light effects attempt to match mature engravings such as the Saint Jerome in His Study. According to Goltzius’s contemporary, Karel van Mander, the artist removed his monogram from several impressions. Thus disguised, the impressions were sent off to Venice, Rome, and Amsterdam, where they were prized by connoisseurs as a previously unknown masterpiece by Dürer. When Goltzius admitted that he was the artist, it was conceded the younger artist had surpassed his predecessor. Despite its apocryphal nature, the anecdote reveals Dürer’s enduring position as figure against whom subsequent generations of printmakers would inevitably be compared. 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Mary, Joseph, Christ, and Saint John sit together outside a small house. In the window of the house, a cat reaches out to capture a bird with its paws. The humble scene does not depict the Virgin as a heavenly queen but rather as a mother with her child. This connects the holy figures to the viewer’s everyday experiences and so humanizes the religious subject. 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Europe, the idea that companionship was an important aspect of marriage spread. In the Marriage Balance, Karl van Mander reacts to this novel idea by insisting on the "traditional" function of marriage, which was economic. The inscription at the bottom reads, "Neither love nor virtue, but only a dowry weighed out fairly in the scales makes a stable marriage . . ." The fact that this image was printed in several states by different publishers and with translations from the Latin into Dutch and English suggests that the principle it illustrates held wide currency. 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Its lovely invention, the Holy Family sharing a bite on the outskirts of a town, blurs the boundaries between a traditional Rest on the Flight into Egypt and a generic devotional image. The observation of the world is searching and minute, like that of early Netherlandish painting. Tender, quietly absorbed, unassuming despite their bulk and rather heavy proportions, the figures and their interaction communicate a harmonious and intimate domesticity. In van Leyden’s later development, the influence of Italian style would inhibit this whimsy and sincerity, which, undiluted in early works like this, lies at the root of Dutch realism. Van Leyden’s technique was just as singular in conception and nuanced in effect. His engraving tool, or burin, seems to have barely grazed the plate, leaving exceptionally shallow strokes that yield mere filament lines. Built in gossamer layers, his textures appear silken, light soft, tone silvery and almost continuous in gradation. 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