Today we went to a private room in the Art Museum to go see some of the interesting prints, etchings, and engravings in the Museum’s inventory. It was really cool, I had no idea we had such an extensive and varied collection of European prints. We tracked the development of printmaking technologies, starting with examples of woodblock prints and finishing with etchings. I didn’t really realize that there was a difference between etching and engraving, as the book’s explanation of the practice was a bit hard to follow. Professor Plesch’s explanation of the two practices were very helpful though, and it was cool to actually be able to see and hold the tools that people used to make etchings. It was also really cool to learn that etching was seen as an inferior art to engraving, and that a lot of early etchings tried to imitate engravings. We also went a bit beyond the book as well, particularly with the last piece on our pseudo ‘timeline’ of printing. Professor Plesch told us that the parts of metal plate intended to be the background had varnish baked onto it, allowing the ink to absorb into the bubbly ridges of the plate which created this super deep and murky blackness that I thought was really cool. All in all it was a great class, a nice change of pace from our regular lectures and a nice way to interact with art.

Class today took place in the art museum where we were able to see real examples of the techniques for printmaking discussed in class. Beginning with reliefs, a woodcut by Dürer Pass Christi: Christ before Pilate had uniform lines creating details and depth in the scene. Made using a gouge, the tool carved lines from a wooden block, moved for curving lines by turning the block, not the hand. Most of our time however was spent discussing Intaglio, specifically etchings and engravings. The engraving by Goltzius The Roman Heroes: Mucius Scaevola can be characterized by its variation of thick and thin lines. This effect is achieved with the burin tool used for engravings, which alters the thickness of the line depending on the amount of pressure applied.

Etchings are different from engravings as they’re made with an etching needle and often a varnish coating. The maneuverability of the needle gives etchings the impressions of drawings, as the lines are imperfect and more free. This was seen clearly in Collot’s Dwarf with Big Belly and From the Medici Landscapes: La Chasse Au Cerf (The Deer Hunt). The inclusion of aquatint on a printing medium adds a final details to prints – gray. Melted dots of resin as contrast with the ink, preventing a completely dark print as in Goya’s Disparate Volante. Overall, the detail and time it takes to create these prints is especially impressive when they’re seen in person, up-close with a magnifying glass.

Today, we discussed Baroque Art in Italy and Spain Part II. We began by discussing Gianlorenzo Bernini, one of the best sculptors ever. He worked for many kings and nobilities. His father was from Florence, and in 1605, they moved to Rome. He was considered a child prodigy and started sculpting as young as 10. We then talked about one of his remarkable sculptures, David. This sculpture was remarkable because it was completed in just 7 months. We have seen him before in Florentine art, and he appeared much smaller. This sculpture gives us the illusion that David is about to release the slingshot and kill the giant. However, the work is incorrectly displayed because you should not be able to walk around it. Instead, David should be placed against a wall, further contributing to the illusion that he is about to release his shot. We then discussed another one of his pieces, The Ecstasy of St. Teresa. This work catches your attention as soon as you walk into the chapel. It truly creates a complete scene as there are even theatrical boxes with 4 figures inside experiencing the viewer’s vision. However, this vision does not capture its true effect due to modern-day lighting since it is supposed to be candle-lit. With the candles, you get the illusion that St. Teresa is heavingly lit and it appears supernatural/divine. The natural light from the ceiling casts against the background of the work. This work uses the coextensive space which connects the space of the depiction with the space of the viewer. The next fresco we discussed was the Triumph of the Name of Jesus by Giovanni Battista. This is my favorite work we have covered thus far in class. The fresco is truly incredible and it feels as if the work is coming to life. It is considered a mixed media work and surrounding the work we see sculpted plastar. In the very center, we see an emblem of the company of Jesus.

We then transitioned to Spain where we talked about Juan Sanchez Cotan, Jusepe de Ribera, Francisco de Zurbarahn and Diego Velazquez. Diego Velazquez’ Las Meninas or the Maides of Honor is a very interesting work. Us as the viewer see Velazquez painting the portrait that we see. In the back we see a mirror, inside is the king and queen. Everyone in the work is able to be identified including even the paintings on the wall in the background. This work is very lifelike.

Class 11

Today in class we discussed the different versions of printmaking and how the differing techniques affected the style of the prints. As well as how when moving forward from one form of printmaking to another, the beginning stages of the new printmaking method would always be trying to replicate the printmaking method that predeceased it. 

Wood blocks were cheap and simple, but not detailed, moving to engraving, more detail was achievable, but it is a difficult process so forms are still reserved and very calculated reflecting the process. Moving from engraving to etching, things loosen up, the ability to sketch is achieved by using ground to draw on with a liquid more like pen and ink, but still, at first it is made to look like engraving by varying the thickness of a single line. But eventually moves into its own more loose sketchy natural look. This looser look is used to portray a baroque ideal of spontaneity, the print looks like it was done quickly, showing a short concise specific time frame of a space. 

During this class, we took a close look at woodcuts, engravings, etchings, and discussed the ways they are similar and different. Woodcuts were the first innovation among these, and initially they were often used to mimic illuminated manuscripts. A picture could be cut into the wood–a relief technique–and then colored. During the time of movable type, this wasn’t necessarily cheaper than real illuminated manuscripts, but it was certainly faster. As woodcuts developed into their own style, however, it became apparent that the medium had serious limitations.

Engraving is the next step after woodcuts–rather than putting a relief into a wooden block, the artist uses a burin to cut out lines in the plate. The image that results will be exactly the lines drawn into the copper or linoleum. Using the burin allowed the artist to control the width of a line, even within a single stroke, by means of putting more or less pressure on the tool. More pressure will create a deeper and wider line, while less pressure will make a shallower, more precise line. In order to effectively use the tool, however, one must have been trained to do so–it is an incredibly difficult process. Where the engraver wants to curve a line, they must turn the plate, rather than the tool, all the while maintaining the pressure necessary to make the line. This became the issue for engraving, its inaccessibility.

Etching, then, becomes the new medium of choice to imitate engravings. To etch something, one must coat a surface in a ‘ground’ varnish, scrape off the varnish where one wants a line with a sharp implement, then submerge the surface into acid. In the acid, everything unprotected by the varnish will be ‘eaten’ away by the acid–leaving a channel in which viscous ink can sit. More than engraving, etching can easily come across to the viewer as a hand-sketch with ink. The natural flow of the lines and the organic differences between each line separates etching from the uniformity and rigidity of engraving. Still, there is a limit–although cross hatching is now possible, there is no way to create large swaths of a solid color. The effect can be achieved, but only through many small lines.

Aquatint is the solution to blocks of color. By using sifted powder varnish, the artist can melt the powder onto the plate, submerge the plate into acid, and the powder and acid combination will create a well in which a controlled amount of ink can accumulate–creating an area of solid color or shading.

In today’s class, we had the opportunity to leave Bixler and spend some time in the museum. We were in the museum and could work very closely with a series of prints and etches. This was an incredible opportunity to use magnifying and get closer to the process than we typically would. Learning about the tools and techniques which the artists used to make the pieces in front of us was another impactful experience. I felt like I was able to get a greater understanding of the artists intentions and the meaning behind the cuts when I better knew the technique.

I found the etches to me the most intriguing. The process of dipping the metal plates in acid was very interesting. I am very curious how this process was discovered, wether it was intentional in improving an art form or if it was a fortunate accident. Additionally we talked a little bit about modern techniques, but this stuck out as something that could have evolved. I theorize that adding electricity to the added acid bath would add an additional chemical reaction that could add complexity to the etch. I am excited to keep learning about this art form as it has been new to me through this class.

In class today, we continued our discussion of Baroque art. One of the highlights of our discussion was learning about Gianlorenzo Bernini, regarded as one of the greatest sculptors ever. Of all of his talent, the speed at which he was able tp sculp was particually impressive. For example he completed his sculpture David In just 7 months. Creating such an impressive and well regarded sculpture while working at such speed makes the sculpture even more impressive. When you consider sculpture as an art form wotj essentially zero room for error, the feat continues to grow.

Another impressive feat of Bernini is Piazza before St. Peters. I enjoy looking at these public spaces that still exist today as it is much easier to imagine how they were used in history. I also enjoyed that he paid particular attention to the space and was able to hold enough people to witness the pope. This showed how dedicated he was to the pope and serving him.

During class on Monday, we continued our discussion of Baroque art in Italy and Spain. We started off by looking at Bernini’s David. Bernini depicts David during a specific moment between two bursts of movement. We compared the work to the Discobolus which assumes a similar position yet an impossible one whereas Berinini’s David is in an achievable pose. The work is very true to life, as he studied is own face to capture the correct emotion. It was especially interesting to learn how this work is not displayed in a way that best captures the dramatic effect but in a way that allows viewers to examine Bernini’s skillful craftsmanship.

We next looked at Bernini’s The Ecstasy of St. Teresa. We learned how Bernini created a coextensive space, a concept that was important to Baroque art which was often intended to engage the viewer and convince the viewer of some truth. We connected the idea of using coextensive space to convince the viewer of an event to Ignatius of Loyola’s Spiritual Exercises, as he encourages readers to engage themselves in their visions of religious stories.

Of the works we looked at from Spain, my favorite was Las Meninas by Velazquez. We learned that not only is every figure in the work identifiable, but Velazquez also placed himself in the work, as he is working on a canvas that we can see on the left side of the image. It is interesting to consider how this is thought to be a painting about painting, as it includes the three primary elements necessary for a painting – an artist, a subject, and a viewer.

Today we looked at Quattrocento and the Early Renaissance in 15th-century Italy, delving into the cultural, artistic, and intellectual ferment that defined this transformative period. We discussed the studia humanitatis and the advent of the printing press illuminated the profound impact of humanist ideals and technological advancements on shaping artistic expression and intellectual discourse. Florence emerged as a vibrant epicenter for arts and innovation during this era, serving as a crucible for creative genius and cultural exchange. The city’s rich tapestry of artistic patronage, architectural marvels, and intellectual fervor laid the foundation for a Renaissance of unprecedented creativity and ingenuity. One of the highlights of our discussion was the riveting competition for the Bronze doors on the Baptistery of Saint John between Filippo Brunelleschi and Lorenzo Ghiberti, a testament to the competitive spirit and artistic excellence that characterized Renaissance Florence. The Florence Cathedral Dome and Ospedale degli Innocenti by Brunelleschi showcased his architectural prowess and innovative engineering solutions, underscoring his lasting impact on Renaissance architecture.Exploring Donatello’s work in Siena provided a glimpse into the sculptor’s mastery of form, expression, and emotion, capturing the essence of human experience with unparalleled skill and sensitivity. Our examination of linear perspective techniques, including orthogonals, transversals, and the horizon line, shed light on the mathematical precision and spatial depth that defined Renaissance art. The meticulous application of perspective not only transformed two-dimensional surfaces into immersive spaces but also revolutionized how artists depicted reality with accuracy and realism.Reflecting on today’s class, I was struck by the convergence of artistic innovation, intellectual curiosity, and cultural dynamism that characterized the Quattrocento and Early Renaissance in Italy. The interplay between humanist ideals, technological advancements, and artistic rivalries fueled a creative renaissance that continues to inspire awe and admiration centuries later.

Today we delved into the visionary world of Leonardo da Vinci and his profound exploration of the macrocosm and microcosm within his masterpieces. We looked at various Da Vinci’s iconic works, including the ethereal Madonna of the Rocks, the transcendent Last Supper, and the enigmatic Mona Lisa. These paintings revealed Da Vinci’s unparalleled ability to infuse his art with layers of symbolism, scientific inquiry, and spiritual depth, blurring the boundaries between the natural world and the divine. As we looked at the intricate details and hidden meanings within Da Vinci’s compositions, I was captivated by his meticulous attention to anatomical accuracy, perspective, and emotional resonance. The concept of macrocosm and microcosm emerged as a central theme in his art, reflecting his belief in the interconnectedness of all things and the harmony between the universe at large and the smallest details of existence. Transitioning to the frescoes of the Stanza della Segnatura by Raphael, we explored the profound influence of classical philosophy and humanism on Renaissance art. The School of Athens fresco stood out as a testament to Raphael’s mastery in capturing the essence of intellectual inquiry and philosophical discourse. The depiction of renowned philosophers and thinkers engaged in dialogue within a grand architectural setting symbolized the ideals of knowledge, wisdom, and enlightenment that defined the Renaissance era. The contrast of Da Vinci’s contemplative mysticism and Raphael’s humanistic idealism provided a comprehensive perspective of the philosophical currents influencing creative expression throughout this transformational age.