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Indepth Arts News:
"Virgins, Gods, Saints and Lovers: Strangeness and Style in Mannerist Prints"
2001-01-20 until 2001-03-28
Bayly Art Museum
Charlottesville, VA,
USA
From Jan. 20 through March 28, the Bayly Art
Museum at the University of Virginia will present a special
exhibition, Virgins, Gods, Saints and Lovers: Strangeness and Style
in Mannerist Prints. Drawn from the museum's permanent collection and
curated by Susan Maxwell, a doctoral candidate in the McIntire
Department of Art, these 16th-century prints offer evidence of a
period of intense religious and political upheaval as well as a
return to ancient literature as sources of inspiration for subject
matter.
The term mannerism refers to works that show certain stylistic
tendencies such as the use of geometric forms, deformation or
elongation of figures, exaggerated gestures, strange lighting and
perspectives, and evocative atmosphere. The diverse subjects present
in the exhibition also attest to an interest in mysterious and even
macabre themes. Many of the works show a delight in erotic subjects
taken from mythology or a perverse joy in sadistic representations of
martyrdom and battle, explains Maxwell. If the moralizing texts
that accompany the works often seem to confuse the viewer in deciding
whether to be critical of the scene presented, she adds, the
ambiguity is purposeful. The broad range of expression is especially
evident in works from Hendrick Goltzius to Antonio Tempesta, both of
whom took equal pleasure in the virtuoso handling of the burin, a
cutting tool used by an engraver. Among the other artists represented
in the exhibition are Abraham Bloemaert, Giulio Bonasone, Agustino
Carracci, Cornelis Cort, Jacob Matham and Johannes Sadeler.
The exhibition juxtaposes strange subjects and modes of expression,
ranging from depictions of the Virgin Mary to unusual mythological
scenes and complex allegories. The emphasis, even in prints with
religious themes, is on the sensual use of line and contrived poses
of the human body. Of special interest throughout the exhibition is
how the artists strive to attain a synthesis between technical skill
and provocative themes. The variety of techniques and subjects,
notes Maxwell, attests to the advent of artistic individuality in a
quest for style and poetic strangeness among printmakers of the 16th
century.
While many of the works in the exhibition are etchings or woodcuts,
the majority are engravings. Their exquisitely etched lines and
controlled cross-hatchings changed the world of printmaking from a
practice geared primarily to reproductions to that of fine art in its
own right. This golden age of engraving did not last into the 17th
century, however; with the advent of master etchers, including
Rembrandt, engraving became a tool for reproduction, which was in
turn, replaced in the 19th century by photographic methods.
On Sunday, Feb. 11, at 2 p .m., Maxwell will present a gallery talk
on Old Master prints in the Museum. Her presentation is open to the
public.
IMAGE:
Hendrick Goltzius,
Netherlands, 1558-1617
Mars Surprised with Venus, 1585
Engraving,
17 1/8 x 12 11/16
Museum Purchase with
Curriculum Support Funds 1995.21.1
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