Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie: 5,1 Philips Galle
Gespeichert in:
| Körperschaft: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Kraków
Polska Akad. Umiejętności
2010
|
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 212 S., [22] Bl. zahlr. Ill. |
| ISBN: | 9788376760285 |
Internformat
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| 245 | 1 | 0 | |a Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie |n 5,1 |p Philips Galle |c Polska Akademia Umiejętności, Biblioteka Naukowa PAU i PAN w Krakowie |
| 264 | 1 | |a Kraków |b Polska Akad. Umiejętności |c 2010 | |
| 300 | |a 212 S., [22] Bl. |b zahlr. Ill. | ||
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Datensatz im Suchindex
| _version_ | 1804143541734080512 |
|---|---|
| adam_text | SPIS TREŚCI
Wstęp
................................................. 5
Philippus Gallaeus
Batavus,
Harlemensis, calcographus insignis
.................. 11
Nota redakcyjna
........................................... 29
Katalog:
................................................
31
Prace Philipsa Galie
.....................................
3i
Aneks: Warsztat Philipsa Galie
...............................
145
Chronologiczna lista rycin opisanych w katalogu
......................... 65
Indeks ikonograficzny
........................................ 169
Znaki własnościowe
.........................................
Indeks filigranów
...........................................
Tablice filigranów
..........................................
Ш
Bibliografia
..............................................
I91
Summary
...............................................
201
Indeks nazwisk
............................................
2^5
Spis ilustracji
.............................................
Ilustracje
...............................................
SUMMARY
The next volume of the Catalogue of the Print Room of the Scientific Library of the Polish Academy
of Arts and Sciences and the Polish Academy of Sciences in Cracow is devoted to the work of Philips
Galle, an
outstanding Netherlandish engraver of the second half of the
1
6th century, founder of the famous
Antwerp dynasty of printmakers and print publishers. Apart from the notes on the prints attributed to him,
the catalogue presents several dozen of works of the unknown authorship produced in his workshop. The
works included in this volume has been attributed to
Galle on
the basis of the facts established by Manfred
Seilink
and
Marjolein
Leesberg
presented in the catalogue of Philips Galle s works which was published
as part of The New
Hollstein
series. Some of the descriptions of the prints classified by the above men¬
tioned scholars as part of the engraver s
oeuvre
have been included in the present volume even if their
authorship was questioned in consequence of later research. Such descriptions are complemented with the
information about the attributions established more recently. Sellink s findings served as a basis for the
penodization of the artist s works and the way they are arranged according to the traditional
iconographie
criterion. The catalogue part is preceded by an article presenting the artistic biography of Philips
Galle
emphasizing his work as an engraver rather than that of a print publisher. The production of the engraver s
and his followers print shop is going to be presented in the forthcoming volume of the catalogue devoted
to the works of other members of the
Galle
family.
Including the prints from all the stages of the artist s career, the group of Philips Galle s works descri¬
bed in the present volume is first of all an excellent illustration of his first, Haarlem period
(1557-1570)
richly represented in the Print Room collection. It opens with the first work signed by the engraver, dated
1557
-Apollo and Artemis killing
Niobe
s
Children after
Giulio
Romano (cat.
170).
Ahigh artistic quality
can be found in his early biblical scenes produced in the years
1558
and
1560
after the drawings of the
„Flemish Raphael ,
Frans
Floris:
Lot and his Daughters (cat.
1),
Solomon Building the Temple (cat.
16)
and Abraham s Sacrifice (cat.
2).
It is worth mentioning that out of the overall number of nine engravings
made by
Galle
after
Floris,
seven are in the collection of the Print Room. Before
1563
another three out¬
standing works reproducing the drawings of this painter were made: Solomon Anointed King (cat.
15),
The
Massacre of the Innocents (cat.
74)
and the elegant Allegory of Music (cat.
167).
Floris
is also the designer
of the engraver s last print published by Hieronymus Cock
-
Mucius Scaevola Placing His Right Hand
on a Burning Altar (cat.
183).
In the early period of his career
Galle
produced mostly biblical scenes made after the drawings of an
eminent Haarlem Italianate painter,
Maarten
van Heemskerck; these stories of the Old and New Testament
are arranged in narrative series with a didactic and moral message. The collection of the Print Room in¬
cludes eleven of these series. Among them there are the earliest ones: The Story of St. Peter and St. John
from
1558
(cat.
102-107)
and The Story of
Tamar andAmnon
from
1559
(cat.
9-14).
They are followed
by the series of the early sixties: The Story of Samson (cat.
3-8)
and The Parable of the Prodigal Son
(cat.
79-84).
The next are the Old Testament sets,
1563-1569:
The Story of Job (cat.
25-32),
The Story of
Esther (cat.
17-24),
The Story of Judith (cat.
41^18),
The Story ofShadrach, Meshach and Abed-Nego
(cat.
33-36),
The Story of Jonah (cat.
37-40)
and finally The Disasters of the Jewish People (cat.
49-71 ).
The collection also includes the scenes from the New Testament created at the same time: Christ as the
Light of the World (cat.
91),
Christ Washing the Disciples Feet (cat.
92),
The Fall of Babylon (cat.
111)
and the series The Life of St. John the Baptist (cat.
96-101).
Another set with the religious theme is
202
The Four Evangelists from
1562
(cat.
113-116).
Heemskerck s moral allegories are represented in the
collection of the Print Room by the series: The Wretchedness of Wealth from
1563
(cat.
130-135),
The
Triumphs of Petrarch from about
1565
(cat.
142-147)
and The Divine Charge of the Three Estates (cat.
148-151).
This group also included two prints from the set The Four Last Things made in 1569(cat.
128—
129).
An interesting example of a cosmological allegory is the series The Four Seasons from
1563
(cat.
163-166),
one of the few works with a secular theme created by the engraver at that time.
Masterly chiaroscuro and painting effects characterize the engravings produced on the turn of the
fifties and sixties after the drawings of
Pieter Bruegel
the Elder: The Parable of the Wise and Foolish Vir¬
gins (cat.
78)
and six prints from the series The Seven Virtues (cat.
152-157).
Galle s prints after Bruegel
are considered to be the best graphic reproductions of the compositions by this great Flemish painter.
Among other works from the Haarlem period there are also allegorical Children s Bacchanalia made
before
1563
(cat.
169),
as well as Christ Blessing the Children
-
the only print created by the engraver
after Crispijn van den Broeck (cat.
76).
What distinguishes the allegorical sets invented by
Philips Galle
himself is their unusual iconography -the unprecedented Misery of Human Life (cat.
136-141)
shows
a pessimistic, deprived of all the religious references vision of the human fate, and The Four Elements
referring to the ancient mythology (cat.
159-162).
The engraver s own composition is also depicted in
the Solomon s Idolatry
—
a part of the moralistic (and
misogynie)
series The Power of Women from
1569
(cat.
72).
A virtuosic engraving technique characterizes the Fighting Gladiators after
Luca
Penni
(cat.
182) -
one of few engraver s works based on the designs of Italian artists. It is also important to mention
an impression of rare and little known print The Ant and the Cricket from
1565
(cat.
168).
In the catalogue
we reproduce this engraving with a verse commentary in letterpress, which has never been published up
to this time.
The collection of the Print Room includes a relatively small number of the works created in the early
years of Philips Galle s Antwerp period, which does not allow to provide a full picture of that prolific
stage in the artist s activity. At that time the engraver begun his co-operation with new print designers.
He produced The Crucifixion after Stradanus
-
the earliest dated Philips Galle s engraving based on the
composition of this painter (cat.
93)
and The Holy Trinity after
Maarten
de Vos
(cat.
112).
Uncommon
iconography distinguishes two prints made after Bruegel s lost works: Christ with His Disciples on the
Way to Emmaus from
1572
(cat.
94)
and The Triumph of Time (cat.
158) -
a complex philosophical alle¬
gory from
1574.
The most outstanding secular Galle s work from that period preserved in the collection
is a series The Eight Wonders of the World after Heemskerck from
1572
(cat.
172-181).
The group of the
prints from early Antwerp period includes also late, eighteenth-century impressions of the portraits of the
scholars from the series Virorum doctorum
de disciplinis benemerentium effigies XLHI1
first published in
1572
(cat.
279, 280, 282).
In
1575,
a crucial year in Philips Galle s career, the first version of The Acts of the Apostles is created.
It is the last series produced by the engraver after the designs by Heemskerck. However, in the collection
of the Print Room there is only one impression from that set
-
St. Peter Healing the Sick with His Shadow
(cat.
109).
The same year brings a remarkable series
10
Sibyls (cat.
117-126)
after the composition of
another Galle s associate, Anthonie Blocklandt, an outstanding Mannerist painter and a disciple of
Frans
Floris.
According to
Marjolein
Leesberg,
at that time the engraver created three prints after the drawings
reproducing Stradanus paintings from the churches in Florence: The Baptism of Christ (cat.
75),
The
Impulsion from the Temple (cat.
77)
and The Transfiguration, in fact showing the Ascension (cat.
95).
Together with the Crucifixion mentioned earlier these prints open a twenty-year period of a regular and
fruitful collaboration of the engraver with the eminent Flemish painter working in Italy.
During the stormy decade of
1575-1585
Galle
produced, apart from his own compositions, mainly
prints after Blocklandt and Stradanus. After
1580,
the latter remained almost his only inventor. Along with
new authors of the designs, there appears a different style and new themes in the works of the engraver.
Religious prints created by him at that time deal mostly with evangelic subjects. A good illustration of
this are excellent works after Blocklandt s drawings: The Annuntiation (cat.
73)
and the series Christ and
Women from the Gospels (cat.
85-90).
This elegant Mannerist compositions show the engraver s ability
to reproduce the specific qualities of the prototypes varying in terms of style. The group of works devoted
203
to the canons of the Catholic faith is represented by a print, made probably after Galle s own design, from
the series Seven Sacraments (cat.
127).
In
1582
the artist published the second version of The Acts of the
Apostles complemented with eighteen new engravings, among which seventeen reproduce the drawings
by Stradanus. There are two impressions from this group in the collection of the Print Room (cat.
108,
1
IO). A
new trend in the interests of the engraver is represented by the works based on the designs of the
same painter: a set The History of the Medici (cat.
184-199),
created in co-operation with Hendrick Golt-
zius, and
34
prints from a very popular and famous series The Hunting-parties from
1578.
Traditionally,
Galle was
considered the author of all the prints from this series, however, recently
Leesberg
attributed
six of them to
Antonius Wierix
II. Apart from the engravings mentioned earlier, the collection comprises
a complete set of
43
prints of the hunting scenes, included in the seventh edition of the series Venationes
ferarum. A majority of them corresponds with Sellink/Leesberg s description of the impressions of the
fourth state printed from the reworked plates; whereas recently
Leesberg
assumed that they are deceptive
copies. The catalogue presents the description of these controversial prints and provides their detailed
characteristics. The notes regarding them have been marked by an asterisk added to a catalogue number.
The Print Room owns a very small group of the Galle s works created after
1585
when the artist
gradually gave up his work as an engraver and focused on publishing and teaching. The interest in my¬
thological themes, characteristic of the late stage of engraver s career, is illustrated only by one print
from the set Sea and River Gods, produced after Galle s own composition and inspired by
Floris
manner
(cat.
171).
This period is also represented by two eighteenth-century impressions with the portraits of the
scholars from the series Imagines L. doctorum virorum (cat.
281, 284).
As already mentioned, the notes on the prints attributed to Philips
Galle are
complemented in the
catalogue with the appendix including
68
works produced in the engraver s workshop. The appendix,
arranged thematically, opens with a series of engravings illustrating the work of Montanus Divinamm
Nuptiarum
conventa et
acta,
produced after the designs of Gerard van
Groeningen,
first published in
1573
and reprinted several times. Although this spiritual guide for the worshippers in which the Bride
symbolizes human soul striving for salvation can be attributed to Philips
Galle
himself, Sellink did not
include it into his
oeuvre. Christiaan
Schuckman also classifies The Spiritual Marriages as the work from
the engraver s workshop. Impressions owned by the Print Room represent a late, Amsterdam edition of
Claes
Jansz. Visscher from
1642
(cat.
285-312).
A remarkable work is the series
Nova Reperto
after Stra¬
danus
-
the set of questionable autorship, made partly by Jan Collaert II and Theodoor
Galle.
This volume
contains descriptions of sixteen unsigned prints from this series, showing subjects that were never before
treated in art (cat.
313-328).
The last work from Galle s workshop described in the appendix is the group
of portraits from the set lllustrium Galliae Belgicae
Icones
et Elogi
represented in the collection by the
eighteenth-century impressions included in Foppens Bibliotheca
Belgica
(cat.
329-353).
The amount of Philips Galle s prints preserved in the collection, although incomplete, allows us to
investigate the changes in the artist s style and engraving technique taking place in various periods of his
career; it also illustrates such important aspects of his work as his co-operation with Stradanus, and first
of all with Heemskerck: the Print Room owns a majority of vast print s group made by the engraver after
the drawings of this painter. What is more, the collection shows the exceptional
iconographie
creativity of
Galle
revealed in the prints made after his own designs. The value of the collection is determined by the
rich set of the prints from the early, Haarlem period of the engraver s activity. In those years
Galle
created
the majority of his best works (apart from the prints after Heemskerck)
-
especially engravings, made
after
Frans
Floris
and
Pieter Bruegel
the Elder, today highly valued by researchers. Finally, it is worth
emphasizing that a considerable part of engraver s prints preserved in the Print Room is represented by
the high quality impressions, mostly of the first state.
Translated by
KATARZYNA PŁAZA
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| indexdate | 2024-07-09T22:49:18Z |
| institution | BVB |
| institution_GND | (DE-588)16028845-9 |
| isbn | 9788376760285 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-020764303 |
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| spelling | Biblioteka Naukowa (Krakau) Verfasser (DE-588)16028845-9 aut Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie 5,1 Philips Galle Polska Akademia Umiejętności, Biblioteka Naukowa PAU i PAN w Krakowie Kraków Polska Akad. Umiejętności 2010 212 S., [22] Bl. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Krużel, Krzysztof Sonstige oth Pokorska-Primus, Małgorzata Sonstige (DE-588)1302215124 oth (DE-604)BV014750653 5,1 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020764303&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020764303&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie |
| title | Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie |
| title_auth | Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie |
| title_exact_search | Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie |
| title_full | Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie 5,1 Philips Galle Polska Akademia Umiejętności, Biblioteka Naukowa PAU i PAN w Krakowie |
| title_fullStr | Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie 5,1 Philips Galle Polska Akademia Umiejętności, Biblioteka Naukowa PAU i PAN w Krakowie |
| title_full_unstemmed | Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie 5,1 Philips Galle Polska Akademia Umiejętności, Biblioteka Naukowa PAU i PAN w Krakowie |
| title_short | Katalog Gabinetu Rycin PAU w Bibliotece Naukowej PAU i PAN w Krakowie |
| title_sort | katalog gabinetu rycin pau w bibliotece naukowej pau i pan w krakowie philips galle |
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| volume_link | (DE-604)BV014750653 |
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