Isabella Piccini | |
|---|---|
| Born | Elisabetta Piccini [1] 1644 [2] |
| Died | 29 April 1732 [2] Venice, Republic of Venice |
| Nationality | Italian [2] |
| Known for | Etching Engraving Illustration |
Isabella Piccini (born Elisabetta Piccini 1644-1732) [1] was an Italian artist and nun. She worked in the mediums of etching, engraving, and illustration.
Piccini was born in Venice in 1644. [2] Her father was etcher and engraver Giacomo Piccini. [3] He trained Piccini in engraving and illustration in the style of the great masters such as Peter Paul Rubens and Titian. [1] Piccini became a Franciscan nun in 1666, joining the Convent of Santa Croce. Upon joining, she changed her name to Sister Isabella. [1]
Prominent Italians commissioned works from her, including portraits and religious artworks. Giovanni Antonio Remondini distributed her prints throughout Europe. [4] All income she made was split between her convent and her family. [1]
Andrea Mantegna was an Italian Renaissance painter, a student of Roman archeology, and son-in-law of Jacopo Bellini.
Lucas van Leyden, also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch painter and printmaker in engraving and woodcut. Lucas van Leyden was among the first Dutch exponents of genre painting and was a very accomplished engraver.
The Sadeler family were the largest, and probably the most successful of the dynasties of Flemish engravers that were dominant in Northern European printmaking in the later 16th and 17th centuries, as both artists and publishers. As with other dynasties such as the Wierixes and Van de Passe family, the style of family members is very similar, and their work often hard to tell apart in the absence of a signature or date, or evidence of location. Altogether at least ten Sadelers worked as engravers, in the Spanish Netherlands, Germany, Italy, Bohemia and Austria.
Intaglio is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink. It is the direct opposite of a relief print where the parts of the matrix that make the image stand above the main surface.
Jacopo Caraglio, Giovanni Jacopo Caraglio or Gian Giacomo Caraglio known also as Jacobus Parmensis and Jacobus Veronensis was an Italian engraver, goldsmith and medallist, born at Verona or Parma. His career falls easily into two rather different halves: he worked in Rome from 1526 or earlier as an engraver in collaboration with leading artists, and then in Venice, before moving to spend the rest of his life as a court goldsmith in Poland, where he died.
Events from the year 1656 in art.
Line engraving is a term for engraved images printed on paper to be used as prints or illustrations. The term is mainly used in connection with 18th- or 19th-century commercial illustrations for magazines and books or reproductions of paintings. It is not a technical term in printmaking, and can cover a variety of techniques, giving similar results.
An old master print is a work of art produced by a printing process within the Western tradition. The term remains current in the art trade, and there is no easy alternative in English to distinguish the works of "fine art" produced in printmaking from the vast range of decorative, utilitarian and popular prints that grew rapidly alongside the artistic print from the 15th century onwards. Fifteenth-century prints are sufficiently rare that they are classed as old master prints even if they are of crude or merely workmanlike artistic quality. A date of about 1830 is usually taken as marking the end of the period whose prints are covered by this term.
Hieronymus Cock, or Hieronymus Wellens de Cock was a Flemish painter and etcher as well as a publisher and distributor of prints. Cock is regarded as one of the most important print publishers of his time in northern Europe. His publishing house played a key role in the transformation of printmaking from an activity of individual artists and craftsmen into an industry based on division of labour. His house published more than 1,100 prints between 1548 and his death in 1570, a vast number by earlier standards.
Sister Plautilla Nelli (1524–1588) was a self-taught nun-artist and the first ever known female Renaissance painter of Florence. She was a nun of the Dominican convent of St. Catherine of Siena located in Piazza San Marco, Florence, and was heavily influenced by the teachings of Savonarola and by the artwork of Fra Bartolomeo.
Isabella Parasole was an Italian engraver and woodcutter of the late-Mannerist and early-Baroque periods.
Domenico Cunego was an Italian printmaker.
Coenraed Lauwers or Coenraad Lauwers, latinized as Coenradus Lauwers(1632 in Antwerp – 1685 in Antwerp) was a Flemish engraver, etcher and print seller. He was mainly active as a reproducer of works of leading Antwerp painters.
Eufrasia Burlamacchi (1482–1548) was an Italian nun who practiced the art of manuscript illumination.
Franciscus van der Steen was a Flemish painter and engraver who was active in Vienna. He is now mainly known for his reproductive prints after master paintings and various publications containing portraits of prominent persons. No known paintings are currently attributed to him.
Anaïs Toudouze was a French fashion plate illustrator, born in Ukraine. She was born to a painter and lithographer, Alexandre-Marie Colin and his wife, who was also a painter.
Arnold van Westerhout or Arnoldo van Westerhout was a Flemish printmaker, painter, draughtsman, publisher and printer. He trained in Antwerp but mainly worked abroad, and in particular in Italy. He settled in Rome where he was a prominent printmaker and publisher. The artist is less known for his paintings, which covered religious and genre subjects, than for his work as a printmaker and publisher.
Nellie Marcia Lane Foster later Marcia Jarrett, (1897–1983), was a British artist notable as a printmaker, portrait painter and book illustrator.
European printmaking in the 18th century grew greatly in quantity, and generally had high levels of technical skill. But original artistic printmaking declined, with reproductive prints becoming the majority. Many printmakers mixed intaglio printing techniques on the same plates with great skill. The generally reduced level of artistic creativity in printmaking changed at the end of the century with the great print series of Goya, whose career stretched into the 1820s but is all covered here. Goya is usually taken as the end of the old master print era, to which the 18th century added relatively little.
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