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oapen-20.500.12657-459822021-01-07T02:18:49Z Chapter Introduction People Between Multiplied Things and Modified Images Jurkowlaniec, Grażyna Herman, Magdalena art history; Renaissance; printed images; visual culture; European art history bic Book Industry Communication::A The arts::AC History of art / art & design styles Printed images were, on one hand, material objects produced, owned or variously transformed by humans, but on the other hand, they were immaterial representations, conceived and variously received by humans as well. Certainly, such a complex relationship among things, people and images is not an exclusive feature of the premodern periods print cultures. However, the rise of printmaking challenged some established rules in the arts and visual realms. Three short insights may exemplify this rise of printmaking. The first insight s point of departure comprises material objects related to Lucas Cranach the Elders early Crucifixion; the second insight offers a human perspective, starting with Christophe Plantins working practices; and the third insight is a short story that emphasises the ambiguities surrounding what printed images represent, as epitomised by early modern depictions of wisent, a species related to the North American bison, but often confused with the Eastern European aurochs. 2021-01-06T14:09:49Z 2021-01-06T14:09:49Z 2020 chapter https://library.oapen.org/handle/20.500.12657/45982 eng application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9781003029199_OAIntroduction.pdf Taylor & Francis The Reception of the Printed Image in the Fifteenth and Sixteenth Centuries Routledge 7b3c7b10-5b1e-40b3-860e-c6dd5197f0bb 312798ad-b662-447e-b850-bc0221f4001f 21021b3c-7ea5-47b1-9be5-d79cfd273ad4 Routledge 24 Uniwersytet Warszawski University of Warsaw open access
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OAPEN
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English
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Printed images were, on one hand, material objects produced, owned or variously transformed by humans, but on the other hand, they were immaterial representations, conceived and variously received by humans as well. Certainly, such a complex relationship among things, people and images is not an exclusive feature of the premodern periods print cultures. However, the rise of printmaking challenged some established rules in the arts and visual realms. Three short insights may exemplify this rise of printmaking. The first insight s point of departure comprises material objects related to Lucas Cranach the Elders early Crucifixion; the second insight offers a human perspective, starting with Christophe Plantins working practices; and the third insight is a short story that emphasises the ambiguities surrounding what printed images represent, as epitomised by early modern depictions of wisent, a species related to the North American bison, but often confused with the Eastern European aurochs.
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9781003029199_OAIntroduction.pdf
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9781003029199_OAIntroduction.pdf
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9781003029199_OAIntroduction.pdf
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9781003029199_OAIntroduction.pdf
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9781003029199_OAIntroduction.pdf
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9781003029199_OAIntroduction.pdf
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9781003029199_oaintroduction.pdf
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Taylor & Francis
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2021
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1771297613442711552
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