The Print in Italy 1550 - 1620 at the National Gallery of Canada from 27 September 2002 to 5 January 2003
Ottawa, Canada - September 27, 2002
« L'estampe en Italie 1550-1620 »
One of the exhibitions presented this fall at the National Gallery of Canada invites visitors to travel to the heart of Italy at the end of the Renaissance to discover a period rich in the production of prints. The Print in Italy 1550-1620 highlights engravers, designers of images, printers and distributors, and sheds light on a whole range of subjects: religion, mythology, science, politics, ornamentation and recreation.
Structure of the exhibition
The Print in Italy 1550-1620 brings together one hundred works by Cherubino Alberti, Andrea Andreani, Orazio Borgianni, Agostino and Annibale Carracci, Cornelis Cort, Martino Rota, Giuseppe Scolari, Antonio Tempesta and Francesco Villa. The exhibition is arranged in three groups of themes illustrating various aspects of the prints: printmaking methods; the different trades involved in their production, and the characteristics of the centres for print production, in particular, Rome and Venice.
Organized by the British Museum, with the North-American tour arranged by the National Gallery of Canada, The Print in Italy 1550-1620 features a variety of subjects: religious and devotional images, maps, representations of prominent people and events, ceremonies, costumes and trades, to records of famous works of art and architecture, both ancient and modern. These prints permitted the international diffusion of images and ideas and were important sources of knowledge. It can be said that the functioned very much as photographs do today.
An illustrated catalogue, edited in English only by Michael Bury, accompanies the exhibition. This catalogue, the only existing survey of this period of Italian printmaking in any language, is based around the extensive and hitherto largely unexplored documentary record. Divided into three main sections, the text looks at techniques and materials, the people involved and their various roles, and some of the principal cities where prints were made, in particular Rome and Venice. Some 170 prints are discussed and illustrated, and the book includes more than 100 biographies. It's on sale at Gallery bookstores.
Saturday 28 September at 2 pm
Venetian Colour in Black and White, Titian and Engraving, by Michael Bury, art historian, Edinburgh University, curator of the exhibition and author of the catalogue. In the Lecture Hall.
Sunday 17 November at 2 pm
The Kathleen M. Fenwick Lecture, What's in a Title? A Tale of Two Antonios, or The Marketing of Souvenir Views in 16th-century Rome, by Suzanne Boorsch, Curator of Prints, Drawings, and Photographs, Yale University Gallery. In the Auditorium.
Interviews are available upon request with David Franklin, Deputy Director and Chief Curator, National Gallery of Canada, and Acting Curator of the exhibition.
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