Inventing the Print
- – This is a past exhibition
Organized by the Grunwald Center for the Graphic Arts, Inventing the Print: 1500-1800 features approximately eighty rare and important prints from the Center’s extensive collection and includes works by Albrecht Dürer, Rembrandt van Rijn, Andrea Mantegna, Jacques Callot, and Jusepe de Ribera. Additional works from the UCLA Louise M. Darling Biomedical Library will also be featured.
The notion of printing repeatable images is one that dates back to ancient cultures. It was, however, the Renaissance printmaker's innovative application of the technique to create complex and evocative images on paper that was a decisive moment for the history of art and culture. Roughly coinciding with the invention of movable type in the West and the increased availability of paper, printed words and images had the capacity to communicate and disseminate information to large and diverse audiences in a way never before possible. “Prints such as Jacopo de' Barbari's nine foot long woodcut view of Venice circa 1500 give an indication of the amazing accomplishment of the artists exploring the potential of this new medium," says curator Cynthia Burlingham.
During this period publishers, printmakers, and artists exploited the printed image’s potential to reach a broader market than unique works such as painting. They were exchanged among artists and artisans to be used as models, and also were collected by tourists, pilgrims, and wealthy patrons. The art of the print was at its most innovative when practiced by master artists such as Dürer and Rembrandt, who executed their own designs in woodcut and engraving. By the end of the eighteenth century, and on the eve of the invention of photography, the technical developments in printmaking led to skilled reproductions of tonal effects that rivaled those of painting.
"Kutoka kwa ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora"" na ""Kuchora.""" Kazi za ziada kutoka UCLA Louise M. Darling Biomedical Library pia zitaonyeshwa. Wazo la kuchapisha picha zinazoweza kurudia-rudia ni moja ambayo ni ya tamaduni za kale. Hata hivyo, ni matumizi ya ubunifu ya Renaissance ya uchapishaji wa mbinu ya kuunda picha ngumu na za kuvutia kwenye karatasi ambayo ilikuwa wakati muhimu kwa historia ya sanaa na utamaduni. Karibu na uvumbuzi wa aina ya kuhamishwa katika Magharibi na kuongezeka kwa upatikanaji wa karatasi, maneno yaliyochapishwa na picha zilikuwa na uwezo wa kuwasiliana na kueneza habari kwa watazamaji wengi na tofauti kwa njia ambayo haijawahi kutokea hapo awali. "Picha kama vile Jacopo de' Barbarie's nine foot long woodcut view of Venice circa 1500, hutoa dalili ya mafanikio ya ajabu ya wasanii kuchunguza uwezo wa njia hii mpya, ""alisema mkurugenzi Cynthia Burlingham." Katika kipindi hiki wachapishaji, wachapishaji, na wasanii walitumia uwezo wa picha iliyochapishwa kufikia soko pana kuliko kazi za kipekee kama uchoraji. Zilichanganywa kati ya wasanii na mafundi ili zitumiwe kama mifano, na pia zilikusanywa na watalii, waabudu, na wadhamini matajiri. Ufundi wa uchapishaji ulikuwa wa ubunifu zaidi wakati uliotumiwa na wasanii wakuu kama vile Dürer na Rembrandt, ambao walifanya miundo yao wenyewe katika uchongaji wa mbao na uchongaji. Kufikia mwishoni mwa karne ya kumi na nane, na kabla ya kuanzishwa kwa upigaji picha, maendeleo ya kiufundi katika uchapishaji yaliongoza kwenye uundaji wa athari za rangi ambazo zilishindana na zile za uchoraji.