#copper engraving

[fanfanlemoko]

Gravure sur cuivre intitulée "Saint Georges à cheval", Albrecht Dürer, 1508.

[holespoles]

petit2

Two little dickie birds sitting on a wall.One named Peter, one named Paul.Fly away, Peter! Fly away, Paul!Come back, Peter! Come back, Paul!

ぷちぷち

二羽のかわいい小鳥たち とまっているのは塀の上 一羽はピーター 一羽はポール 飛びたてピーター 飛びたてポール もどって来いピーター もどって来いポール マザーグースより

[lionofchaeronea]

Title: Sol Iustitiae (Sun of Righteousness) Artist: Albrecht Dürer (German, 1471-1528) Date: ca. 1499-1500 Genre: allegory Period: German Renaissance Medium: copper engraving print Dimensions: 10.7 cm (4.2 in) high x 7.6 cm (2.9 in) wide Location: National Gallery of Art, Washington, DC, USA

[charnel-grounds]

Die Qualen der Hölle: In der Eishölle (The Torments of Hell: In the Ice Hell)

German school, 16th century

copper engraving

from Eduard Fuchs’ “Illustrierte Sittengeschichte vom Mittelalter bis zur Gegenwart”, 1909

[classic-male-nudes]

Here's a gift idea nobody's talking about: a 16th-century engraving of a naked youth holding a severed head. Seriously though - if you know someone who collects prints, who geeks out over Northern Renaissance engraving technique, who has a wall full of Dürer reproductions and thinks they've seen everything - "David with the Head of Goliath" by the mysterious Monogrammist AC is the piece that'll stop them cold. It hides in the Rijksmuseum's print collection while everyone stampedes toward Rembrandt. Look at the top of the frame first. There's a grotesque maskaron half-buried in ornamental scrollwork, staring down at the scene. Whoever cut this plate wanted you to feel watched. Then drop your eyes to David - young, nude, standing in sharp contrapposto, his body emerging from pitch-dark crosshatching like marble learning to breathe. Drapery hangs from his left arm almost casually. And beside him, Goliath's bearded, wild-haired head hovers at hip level - not tossed on the ground like a trophy, but presented alongside the body like a quiet fact. The male body in Renaissance art wasn't decoration - it was theology. David's nudity is a statement about divine favor stripping away everything worldly. But what gets me here is that David isn't posing as a hero. He's standing in the aftermath of violence, looking like he hasn't fully processed what just happened. That's not a triumph. That's a psychological study scratched into copper and pressed onto paper. Quelle: meisterdrucke.com

[liyahschill]

Painting: St. Jerome in his Study (Albrecht Dürer, 1514)

[tilbageidanmark]

Albrecht Dürer, Peasant Couple Dancing, 1514

[meisterdrucke]

I'll be honest: this engraving unsettles me, and I think that's the point. Lucas van Leyden was around 18 when he cut this plate in 1512 - and what fascinates me isn't the central drama but everything at the edges. The figure crouched on the ground, lower left, finger extended toward the main scene like a stage direction made flesh. The archway behind them all, where figures are caught in some tense confrontation nobody in the foreground seems to notice. A small shoe lies abandoned on the floor, belonging to no one. The important conversation happens up front while something ominous unfolds one room away - visible to us, irrelevant to them. Van Leyden worked with a burin directly on copper (not a woodcut - each line carved into metal, no room for error), and the crosshatching is almost absurdly refined for someone his age. Every fold of fabric has weight. It's that background scene I keep returning to. The story within the story that the room ignores. Quelle: meisterdrucke.com