{ "objects" : [ { "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" : 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" : "" } , ] }, ] }