{"id":507252,"date":"2022-01-06T10:33:43","date_gmt":"2022-01-06T15:33:43","guid":{"rendered":"https:\/\/www.rochester.edu\/newscenter\/?p=507252"},"modified":"2023-05-17T10:40:07","modified_gmt":"2023-05-17T14:40:07","slug":"memorial-art-gallery-collections-add-new-dimension-to-renaissance-impressions-507252","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/newscenter\/memorial-art-gallery-collections-add-new-dimension-to-renaissance-impressions-507252\/","title":{"rendered":"Memorial Art Gallery collections add new dimension to Renaissance Impressions<\/em>"},"content":{"rendered":"

MAG\u2019s decorative arts underscore central themes in a traveling exhibit of master prints from the Kirk Edward Long Collection.<\/h2>\n

Round the first corner of the Renaissance Impressions<\/em> exhibit now on display at the Ä¢¹½´«Ã½<\/a>\u2019s Memorial Art Gallery<\/a>, and you\u2019ll notice an array of magnifying glasses suspended on wall hooks.<\/p>\n

\u201cI put these in all my print shows,\u201d says Nancy Norwood, the museum\u2019s curator of European art. \u201cIf people can\u2019t see it, they\u2019re not going to get it.\u201d<\/p>\n

There\u2019s a lot to see\u2014and to get.<\/p>\n

The 82 etchings, engravings, and woodcuts in the exhibit organized by the American Federation of the Arts are selections from the Kirk Edward Long collection<\/a>. The Long collection is one of the most comprehensive and highly regarded collections of Renaissance prints in private hands in the world. The scenes the prints depict\u2014allegorical, Biblical, and Classical\u2014are rich in detail.<\/p>\n

\"A
Magnifying glasses encourage visitors to get a closer look at the detail in the Renaissance prints on display. (Memorial Art Gallery photo)<\/figcaption><\/figure>\n

Reflecting Long\u2019s interests, they contain tell-tale features of the Late Renaissance style known as mannerism. Bodies are crammed together, in tangles of torsos and limbs. Nudity abounds, with anatomical features carefully, but not necessarily accurately, rendered. There are muscular babies, and fully developed human forms with animal ears, noses, legs, and genitalia. Faces are frozen in expressions of ecstasy, pain, horror, and bliss.<\/p>\n

Peer closely, and you see how all this complexity, shadow, and depth are achieved with nothing more than individual, discrete black lines.<\/p>\n

\u201cI\u2019m amazed by printmaking at this period in particular,\u201d says Norwood, pausing at a large engraving by the German artist George Pencz (c. 1500\u20131550). The print, The Taking of Cartagena,<\/em> extends nearly two feet wide and a foot-and-a-half tall. Norwood notes the depth of the image, from the battle in the foreground to the distant countryside. \u201cJust imagine, a piece of metal and a pointy object,\u201d she says, referring to the steel tool used to make grooves in copper plates. \u201cAnd from that, you get this.\u201d<\/p>\n

An Asian invention transforms the European continent <\/strong><\/h3>\n

Taken together, the prints tell a story of sweeping change. It\u2019s not hard in our own time and place to recall moments when novel objects and images seemed to come out of nowhere and were soon found everywhere. To live in Europe in the 16th century was to experience exactly that with the arrival and spread of prints.<\/p>\n

Printing flourished in China and Japan for several centuries before the practice took hold in Europe. It\u2019s thought that printmaking\u2014and its essential component, paper\u2014arrived in Europe through travel and trade. As paper mills sprouted up across the continent in the 15th century, a new art form arose that changed not only the practice and business of art making and consumption, but material culture throughout much of Europe.<\/p>\n

\"\"
\u201cThe Taking of Cartagena,\u201d by German artist George Pencz, is on display at the Memorial Art Gallery\u2019s Renaissance Impressions<\/em> exhibit. (Memorial Art Gallery photo)<\/figcaption><\/figure>\n

Prints led to a shared \u201cvisual vocabulary\u201d across much of Europe, Norwood explains. To be educated in the popular sense meant to recognize certain figures and scenes that commonly appeared in prints. And over time, to understand the meanings ascribed to them.<\/p>\n

It\u2019s easy to forget that, prior to printmaking, the only way to access visual depictions of Greek gods or goddesses, or of Biblical figures and stories, was to stand before singular, original, one-of-a-kind works of art. Those works were clustered in present-day Italy. Artists engaged in printmaking traveled to these \u201csources\u201d and were able to disseminate their replications or interpretations of Classical and Biblical imagery throughout the continent.<\/p>\n

MAG\u2019s decorative arts show dissemination, influence of printed images <\/strong><\/h3>\n

The MAG exhibit excels in conveying just how wide the reach of these images became. In an unusual move, Norwood suggested to the AFA that MAG would incorporate into its display items from the museum\u2019s permanent collections in order to underscore this key takeaway.<\/p>\n

\u201cI have a great collection to work with,\u201d says Norwood, who has been in her role at MAG for 21 years. Incorporating decorative arts objects was \u201ca no-brainer.\u201d<\/p>\n

The arts became intertwined in Renaissance Europe. Paintings and sculptures were sources for prints, which in turn, were sources for art that adorned many objects, such as suits of armor, liturgical vestments, furniture, stained glass, and ceramics\u2014including the examples selected from MAG\u2019s Renaissance-era collections.<\/p>\n

\"details
\u201cAllegory of Caritas and Tolerance: the Virgin and Child in a Landscape,\u201d by an unknown artist from Northern France, is a recent acquisition on display for the first time. (Memorial Art Gallery photo)<\/figcaption><\/figure>\n

A 17th-century cabinet, for example, is adorned with 13 painted panels depicting scenes from Metamorphoses<\/em>, by the Roman poet Ovid. The Flemish artist\u2019s sources included an engraving that was, in turn, inspired by Titian\u2019s painting The Education of Cupid<\/em>.<\/p>\n

A set of stained-glass panels, roundels, and windows from the 16th century \u201care particularly instructive,\u201d Norwood says. She\u2019s been developing a collection of glass over the last several years, and these selections, recent gifts, are being shown for the first time. They show scenes derived from woodcuts and engravings by the German Albrecht Durer, engravings by the Flemish Maarten van Heemskerck, and etchings by the Italian Marcantonio Raimondi.<\/p>\n

She lists, one by one, the elements that went into the creation of the works. A Dutch painter working on Dutch glass, with a German engraving, derived from an Italian painting, as his source. A French artist working on French glass, including source images from a German engraving and an Italian etching.<\/p>\n

As an exploration of the interconnections of commerce, travel, art, and imagery, Norwood says, \u201cit just really sums it all up.\u201d<\/p>\n

Renaissance Impressions: Sixteenth-Century Master Prints from the Kirk Edward Long Collection, is on display at the URochester\u2019s Memorial Art Gallery through February 6, 2022.<\/em><\/p>\n

\n

Read more<\/strong><\/h3>\n
\n
\"\"A \u2018different kind of wonder\u2019<\/strong><\/a>
\nAssociate professor of art history Christopher Heuer explores the European Renaissance\u2019s engagement with the Arctic\u2014a little-known chapter of history but a relevant one today, when the region once again has become a site of anxious attention.<\/span><\/div>\n
\"\"In remote regions of the South Pacific, cell phones have transformed daily life<\/strong><\/a>
\n\u201cThere was a moment when they were nowhere, then a moment when they were everywhere,\u201d says professor of anthropology Robert Foster about the cell phone in Papua New Guinea. Foster looks at how cell phones transformed a society overnight.<\/span><\/div>\n
\"\"New book previews Memorial Art Gallery\u2019s 2022 AIDS posters exhibition<\/strong><\/a>
\nUp Against the Wall: Art, Activism, and the AIDS Poster<\/em> explores the world\u2019s largest collection of HIV\/AIDS education posters and visual resources\u2014a collection owned by River Campus Libraries and the basis for a major exhibition at the Memorial Art Gallery opening in March 2022.
\n<\/span><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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