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This socio- and media-historical research on Peter Paul Rubens's title page design shows that he consciously developed its traditions. In collaboration with engravers and publishers, Rubens created 48 visual and intellectual masterpieces for a great variety of books which belonged in every seventeenth-century library of rank. His designs were not only advertisements for these works, but also for their authors and publishers, often Balthasar Moretus. Rubens's title pages were repeatedly copied, and their wide distribution contributed immensely to Rubens's fame as a learned artist, antiquarian, humanist and Catholic.
Book history --- title pages --- illustrations [layout features] --- Rubensgrafiek --- Moretus, Balthasar I --- Rubens, Peter Paul --- Title pages --- Illustration of books --- Book design --- History --- Rubens, Peter Paul,
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Book history --- Graphics industry --- optics --- title pages --- Rubens, Peter Paul --- Aguilonius, Franciscus
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Book history --- illustrations [layout features] --- Counter-Reformation --- Rubens, Peter Paul
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prints [visual works] --- printmaking --- interpretation --- book review --- Rubens, Peter Paul
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Book history --- boekkunst --- book history --- Rubens, Peter Paul --- anno 1700-1799
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Gateways to the Book investigates the complex image-text relationships between frontispieces and illustrated title pages with the following texts in European books published between 1500 and 1800. Although interest in this broad field of research has increased in the past decades, many varieties of title pages, many printers and books remain as yet unstudied. The fifteen essays collected in this volume tackle this field from a great variety of academic approaches asking how the images can be interpreted, how the texts and contexts shape their interpretation and how they in turn shape the understanding of the text.
Art History --- Book History and Cartography --- Early Modern History --- Literature, Arts & Science --- Art --- History. --- Book history --- title pages --- frontispieces [illustrations] --- anno 1500-1799 --- Europe --- Books --- Frontispiece --- Title pages --- Illustration of books --- Art History. --- Book History and Cartography. --- Early Modern History. --- Literature, Arts & Science. --- Frontispices --- Art history --- History of art --- 76: 655.5 Grafische kunsten. Grafiek. Prentkunst-:-Geïllustreerde boeken (boekillustraties) --- 76 "15/17" --- 76 "15/17" Grafische kunsten. Grafiek. Prentkunst--Moderne Tijd --- Grafische kunsten. Grafiek. Prentkunst--Moderne Tijd --- Library materials --- Publications --- Bibliography --- Cataloging --- International Standard Book Numbers
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Die in der Frühen Neuzeit gängige Praxis der Neuauflage druckgraphischer Einzelblätter und Serien war nicht nur von ökonomischen Interessen der Verleger geleitet, sondern zugleich Ausdruck einer innovativen ästhetischen Auseinandersetzung mit bestehenden Bildfindungen. Das Spektrum dieses produktiven Umgangs mit etablierten Inventionen umfasste unveränderte Wiederauflagen respektive Kopien, aber auch konzeptuelle Überarbeitungen und Ergänzungen sowie programmatische Umkontextualisierungen. Im Anschluss an neuere kunsthistorische Forschungen, die im Akt des zeichnerischen, malerischen oder druckgraphischen Reproduzierens ein signifikantes gestalterisches Potenzial erkannt haben, sollen derartige Neukonfigurationen in der nordalpinen Druckgraphik als mediale Formen kreativer Aneignung begriffen werden. In diesem Sinne sind Neuauflagen als (Re-)Inventionen zu verstehen, deren spezifischen visuellen Strategien der Anlehnung an und Abweichung von vorhergehenden Auflagen sich der interdisziplinäre Band widmen möchte. Anhand von Fallstudien wird untersucht, inwieweit sich die nach wie vor diskutierten Fragen nach den sozioökonomischen Faktoren der Produktion und Rezeption von Druckgraphiken mit Überlegungen zu deren Relevanz als kultureller Artikulationsraum und Medium künstlerischer (Selbst-)Reflexion verbinden lassen. This interdisciplinary volume examines a practice that was common in the early modern north Alpine region, namely the making of new edition prints, and argues that it was a complex aesthetic strategy of creative appropriation. It focuses on the socioeconomic factors involved in the production and reception of print (re-)inventions and considers their relevance as a space of cultural articulation and a medium of artistic (self-)reflection.
Printing --- Publishers and publishing --- Reprints (Publications). --- ART / Techniques / Printmaking. --- History. --- Printmaking. --- copies. --- early modern period. --- new editions. --- Bibliography --- Reprint editions --- Out-of-print books --- Book publishing --- Books --- Book industries and trade --- Booksellers and bookselling --- Printing, Practical --- Typography --- Graphic arts --- Publishing
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