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In the sixteenth century, Antwerp was an important humanist center. It was the ideal environment for printer, publisher and book seller Christophe Plantin. Through his letters he kept in touch with a variety of correspondents: members of the Spanish court, book dealers, authors such as the scholar Justus Lipsius, the mapmaker Abraham Ortelius and the botanist Carolus Clusius, as well as his own daughters. This book offers a selection of the letters that most capture the imagination and reveal the publisher annex businessman in full action: while recruiting authors, starting up a Bible edition, solving staff problems and much more. The collection of letters thus offers more insight into Plantin's personal life as well as into the sixteenth-century zeitgeist, exploring themes that are still relevant today, such as international trade, war, censorship, reputation, father-daughter relationships...
Plantin, Christopher
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letters [correspondence]
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094.1 <493 ANTWERPEN>
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094.0 PLANTIJN, CHRISTOFFEL
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091.5
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091.5 Autografen
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Autografen
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094.0 PLANTIJN, CHRISTOFFEL Techniek van het oude boek (typografie)--PLANTIJN, CHRISTOFFEL
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Techniek van het oude boek (typografie)--PLANTIJN, CHRISTOFFEL
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094.1 <493 ANTWERPEN> Oude drukken: bibliografie--
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Art historians have long looked to letters to secure biographical details; clarify relationships between artists and patrons; and present artists as modern, self-aware individuals. This book takes a novel approach: focusing on Albrecht Dürer, Shira Brisman is the first to argue that the experience of writing, sending, and receiving letters shaped how he treated the work of art as an agent for communication. In the early modern period, before the establishment of a reliable postal system, letters faced risks of interception and delay. During the Reformation, the printing press threatened to expose intimate exchanges and blur the line between public and private life. Exploring the complex travel patterns of sixteenth-century missives, Brisman explains how these issues of sending and receiving informed Dürer's artistic practices. His success, she contends, was due in large part to his development of pictorial strategies-an epistolary mode of address-marked by a direct, intimate appeal to the viewer, an appeal that also acknowledged the distance and delay that defers the message before it can reach its recipient. As images, often in the form of prints, coursed through an open market, and artists lost direct control over the sale and reception of their work, Germany's chief printmaker navigated the new terrain by creating in his images a balance between legibility and concealment, intimacy and public address.
76 DÜRER, ALBRECHT --- 82-6 --- 091:82-6 --- 091.5 --- 82-6 Brief --- Brief --- 091.5 Autografen --- Autografen --- 091:82-6 Handschriftenkunde. Handschriftencatalogi-:-Brief --- Handschriftenkunde. Handschriftencatalogi-:-Brief --- 76 DÜRER, ALBRECHT Grafische kunsten. Grafiek. Prentkunst--DÜRER, ALBRECHT --- Grafische kunsten. Grafiek. Prentkunst--DÜRER, ALBRECHT --- fine arts --- letters [correspondence] --- Dürer, Albrecht --- fine arts [discipline] --- 82-6 Letters. Art of letter-writing. Correspondence. Genuine letters. Other works in epistolary form --- Letters. Art of letter-writing. Correspondence. Genuine letters. Other works in epistolary form --- writing [processes] --- communication [function] --- visuele communicatie --- Communication and the arts --- Communication in art --- Visual communication --- German letters --- Written communication --- History --- History and criticism. --- Dürer, Albrecht, --- Criticism and interpretation. --- Albrecht Dürer. --- German. --- address. --- audience. --- author. --- communication. --- handwriting. --- letters. --- postal system. --- prints. --- technology. --- writing.
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