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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" : 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" : 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. 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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. 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In long service to Rudolf II, he gave shape to the emperor’s erudite taste and more than any other artist defined the School of Prague’s extravagant style. By the late 1580s Hendrick Goltzius was celebrated as the greatest engraver of his time. He developed a commanding burin stroke, a strict organization of mark, and an unprecedented ability to convey pictorial properties. In reasserting the intellectual dimension of engraving, Goltzius’s style was itself one of the major developments of late Mannerism. One of the last of Spranger and Goltzius’s seven collaborations, this engraving is relatively simple in iconography and obviously Parmigianinesque in vocabulary. Identical in size, its contours indented from transferring the design, the drawing is the very sheet from which the plate was prepared. This superb impression of the print matches the rarified beauty of its prototype. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Still Water Foundation, 1993", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "11120", "Rel_Obj_Title" : "The Holy Family" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1993.176.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1993.176.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1993.176.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1993.176.tif", "IsPrimary" : "1", "_SurrogateID" : "1626", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2327, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2327", "Disp_Access_No" : "1995.153", "_AccNumSort1" : "", "Disp_Create_DT" : "1589", "_Disp_Start_Dat" : "1589", "_Disp_End_Date" : "1589", "Disp_Title" : "St. Andrew, plate 2 from Christ, the Twelve Apostles and Saint Paul", "Alt_Title" : "", "Obj_Title" : "St. Andrew, plate 2 from Christ, the Twelve Apostles and Saint Paul", "Series_Title" : "", "Disp_Maker_1" : "Hendrick Goltzius", "Sort_Artist" : "Goltzius, Hendrick", "Disp_Dimen" : "16.5 cm x 12 cm (6 1/2 in. x 4 3/4 in.)", "Disp_Height" : "16.5 cm", "Disp_Width" : "12 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Isidore Simkowitz in memory of Amy Cecelia Simkowitz-Rogers, 1995", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", 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In this print, the Virgin is praying while she weeps. The cross upon which Christ was crucified stands in the background as a reminder of the sacrifice that Christ made for mankind and that the Virgin made by giving up her son.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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There he obtained a drawing by Palma Giovane that he later translated into this engraving. It is one of the works that marks Goltzius’s transition from an extravagant Mannerist working after Flemish models to a more controlled virtuoso capable of translating any style and evoking any pictorial effect.", "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/2002.2183.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2183.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2183.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2183.tif", "IsPrimary" : "1", "_SurrogateID" : "1913", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11043, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11043", "Disp_Access_No" : "1992.2", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1508", "_Disp_Start_Dat" : "1503", "_Disp_End_Date" : "1513", "Disp_Title" : "The Holy Family", "Alt_Title" : "", "Obj_Title" : "The Holy Family", "Series_Title" : "", "Disp_Maker_1" : "Lucas van Leyden", "Sort_Artist" : "Leyden, Lucas van", "Disp_Dimen" : "19.6 cm x 14.5 cm (7 11/16 in. x 5 11/16 in.)", "Disp_Height" : "19.6 cm", "Disp_Width" : "14.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "This is a perfect example of the qualities that place Lucas van Leyden among the greatest engravers of the sixteenth century. 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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