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11/1/1991 - 8/13/1995
Organizing institution: The Fralin Museum of Art at the University of Virginia
The eighty-five plus objects featured in the exhibition reflect the diversity of styles in two hundred-fifty years of printmaking. Displayed in this exhibition are woodcuts, engravings, etchings, and dry point etchings, representing several of the different medias explored by artists during this period of burgeoning artistic activity. The easily transportable nature of prints fueled the spread of visual innovation across Europe. The works of over sixty artists, working North and South of the Alps, from Germany to Italy, present the interwoven relationship between the two traditions. Highlighted are prints by Albrecht Durer, Annibale Carracci, Schiavone, Rembrandt van Rijn, Martin Schongauer, Jusepe de Ribera, and a major woodcut after Titan. The different techniques employed in printmaking confirm that the very medium itself can determine the aesthetic, while simultaneously supporting the purpose and meaning of the work.
The prints from both the Bayly's permanent collection and Getrude Weber's personal collection have been acquired within the past decade, a distinctive aspect of this exhibition. The Office of the Provost provided funds for the Bayly acquisitions to support academic programming. Mrs. Weber formed her collection with references to the strengths and weaknesses of the Bayly Collection. Both collections are available to students for research. This exhibition is the first comprehensive showing of each of these collections, the result being a complementary whole allowing careful and thorough examination of the graphic masterpieces.
From the Collections of the Bayly Art Museum and Gertrude Weber.
An exhibition of 84* Northern and Southern European prints from the beginning of the sixteenth century to the last quarter of the seventeenth century. Thirty-seven prints are from the Bayly Art Museum and forty-seven from the collection of Gertrude Weber. (* several catalogue entries are groups or suites of prints, so the number of individual prints is higher than 84.)
Organizing institution: The Fralin Museum of Art at the University of Virginia
The eighty-five plus objects featured in the exhibition reflect the diversity of styles in two hundred-fifty years of printmaking. Displayed in this exhibition are woodcuts, engravings, etchings, and dry point etchings, representing several of the different medias explored by artists during this period of burgeoning artistic activity. The easily transportable nature of prints fueled the spread of visual innovation across Europe. The works of over sixty artists, working North and South of the Alps, from Germany to Italy, present the interwoven relationship between the two traditions. Highlighted are prints by Albrecht Durer, Annibale Carracci, Schiavone, Rembrandt van Rijn, Martin Schongauer, Jusepe de Ribera, and a major woodcut after Titan. The different techniques employed in printmaking confirm that the very medium itself can determine the aesthetic, while simultaneously supporting the purpose and meaning of the work.
The prints from both the Bayly's permanent collection and Getrude Weber's personal collection have been acquired within the past decade, a distinctive aspect of this exhibition. The Office of the Provost provided funds for the Bayly acquisitions to support academic programming. Mrs. Weber formed her collection with references to the strengths and weaknesses of the Bayly Collection. Both collections are available to students for research. This exhibition is the first comprehensive showing of each of these collections, the result being a complementary whole allowing careful and thorough examination of the graphic masterpieces.
From the Collections of the Bayly Art Museum and Gertrude Weber.
An exhibition of 84* Northern and Southern European prints from the beginning of the sixteenth century to the last quarter of the seventeenth century. Thirty-seven prints are from the Bayly Art Museum and forty-seven from the collection of Gertrude Weber. (* several catalogue entries are groups or suites of prints, so the number of individual prints is higher than 84.)
Exhibition Objects (50)
Artists (41)
- Abraham Bloemaert (Gorinchem, Netherlands, 1566 - 1651, Utrecht, Netherlands)
- Abraham Bosse (1602 - 1676)
- Albrecht Altdorfer (Regensburg, Germany, ca. 1480 - 1538, Regensburg, Germany)
- Albrecht Dürer (Nuremberg, Germany, 1471 - 1528, Nuremberg, Germany)
- Allart van Everdingen (Alkmaar, Netherlands, 1621 - 1675, Amsterdam, Netherlands)
- Andrea Andreani (Mantua, Italy, ca. 1594 - 1629)
- Annibale Carracci (Bologna, Italy, 1560 - 1609, Rome, Italy)
- Anthony van Dyck (Antwerp, Belgium, 1599 - 1641, England)
- Christoffel Jegher (active Antwerp, Belgium, 1596 - 1652 - 1653, Antwerp, Belgium)
- Claes Jansz. Visscher (Amsterdam, Netherlands, 1587 - 1652, Amsterdam, Netherlands)
- Claude Lorrain (Champagne, France, 1604 - 1682, Rome, Italy)
- Domenico del Barbiere (Florence, Italy, ca. 1506 - 1565 - 1575, Paris, France)
- Etienne Delaune (Paris, France, ca. 1519 - 1583, Paris, France)
- Federico Barocci (Urbino, Italy, 1528 - 1612, Urbino, Italy)
- Francesco Primaticcio (1504 - 1570)
- Georg Pencz (Breslau, Poland, ca. 1500 - 1550, Leipzig, Germany)
- Giovanni Benedetto Castiglione (Genoa, Italy, 1609 - 1664, Mantua, Italy)
- Giulio Bonasone (Bologna, Italy, ca. 1510 - after 1576, Bologna, Italy)
- Giuseppe Arcimboldi (Milan, Italy, ca. 1527 - 1593, Milan, Italy)
- Giuseppe Niccolò Vicentino (active early 16th century - )
- Giuseppe Scolari (1550 - 1600)
- Hans Sebald Beham (Nuremberg, Germany, 1500 - 1550, Frankfurt am Main, Germany)
- Heinrich Aldegrever (Paderborn, Germany, 1502 - ca. 1561, Soest, Germany)
- Hendrick Goltzius (1558 - 1617, Haarlem, Netherlands)
- Hieronymus Cock (Antwerp, Belgium, ca. 1510 - 1570, Antwerp, Belgium)
- Italian Artist
- Jacob Matham (Haarlem, Netherlands, 1571 - 1631, Haarlem, Netherlands)
- Jacopo de' Barbari (Venice, Italy, ca. 1460 - 1470 - ca. 1516, Mechelen, Belgium)
- Jacopo Ligozzi (Verona, Italy, 1547 - 1627, Florence)
- Jacopo Palma il Giovane (Venice, Italy, ca. 1548 - 1628, Venice, Italy)
- Joachim Anthonisz Wtewael (1566 - 1638)
- John Singleton Copley (Boston, Massachusetts, 1738 - 1815, London, England)
- Martin Schongauer (Colmar, France, ca. 1430 - 1491, Breisach am Rhein, Germany)
- Master of the Triumph of Death (active ca. 1350 - )
- Moses van Uyttenbroeck (active The Hague, Netherlands, ca. 1595 - before 1647, The Hague, Netherlands)
- Niccolò Nelli (active Venice, Italy, ca. 1530 - 1579)
- Peter Paul Rubens (Siegen, Germany, 1577 - 1640, Antwerp, Belgium)
- Philip Galle (1537 - 1612)
- Pieter Bruegel (ca. 1525 - 1569)
- Rembrandt van Rijn (Leyden, Netherlands, 1606 - 1669, Amsterdam, Netherlands)
- Willem van Swanenburg (Leyden, Netherlands, 1580 - 1612, Leyden, Netherlands)