Landscape Prints divided in two: Canaletto, Goya and Hokusai
DOI:
https://doi.org/10.1344/waterfront2022.64.3.01Keywords:
Landscape, Prints, Partition, Simbology, PerceptionAbstract
For different reasons, whether conceptual, formal, functional or material -plate and paper-, compositional partitioning has been frequent in large-format prints, in what we call prints or mural prints. However, here we are dealing with singular cases of partitioning of medium or small size prints, landscape prints by Canaletto, Goya and Hokusai whose composition has been divide in two. A composition divided symmetrically in terms of the measured space and that leads to formal, symbolic and iconographic analogies with other types of works and to different contexts from tradition to modernity.
Based on this, we think about on the interrelationships between authors and links in the ways of observing a print and, especially, in what the fragmented continuity of the gaze implies, since an orderly and conventional reading of the total composition of a print implies the sensation of progress between the black strokes and the white spaces of the paper between textures, both optical and tactile, of great proximity and sensory impact. A sensation that, suddenly, is truncated by a void, a fracture, a crack or a fold depending on the width of the dividing vertical and depending on the technical medium of the print. And like the reprinting of the two halves of the plates divided in two, both in Canaletto and in Goya, it alludes to the viewer’s resistance to partition, to the desire to see the original set, to reunite once again the landscape that had previously been a unity, as a will opposed to fragmentation and tending to the ‘one’, to what is considered complete, even above the will of the author.
References
ALBERTI, Leon Bautista Alberti. “Los tres libros de la Pintura”, en: El tratado de la Pintura por Leonardo de Vinci y los tres libros que sobre el mismo arte escribio Leon Bautista Alberti (trad. de Diego Antonio Rejón de Silva; intro. Valeriano Bozal). Murcia, Colegio de Aparejadores y Arquitectos Técnicos de Murcia, 1980. (p. 215).
ARMSTROG, Lilian; BOORSCH, Suzanne; GODDARD Stephen & STEWART Alison. Grand Scale. Monumental prints in the age of Dürer and Titian. (Larry Silver, and Elizabeth Wyckoff, ed.) New Haven and London, Davis Museum and Cultural Center, Wellesley College, Yale University Press, 2008.
BARTSCH Adam von, Illustrated Bartsch (General ed. Walter L. Strauss), New York, Abaris Books, vol 10, nº 138.
BERUETE, A. de, Goya grabador. Madrid, Blass y Cía, vol. III, 1918, pp.145-146.
BIALLER, Nancy . Chiaroscuro Woodcuts. Hendrick Goltzius (1550-1617). Ghent. Rijksmuseum Amsterdam/ Snoeck-Ducaju & Zoon, 1993, pp.186-189
BOORSCH Suzanne, Venetian Prints and Books in the Age of Tiepolo, New York, The Metropolitan Museum, p. 18
BOUQUILLARD, Jocelyn and MARQUET, Christopher Hokusai. First Manga Master. New York, Abrams, 2007
BROCK, Maurice “L’invention du paysage, le voyage des Rois Mages dans la peinture toscane de la Renaissance”, en Les paysages du cinéma, Champ Vallon, 1999, p. 263
BROMBERG Ruth Canaletto’s etchings Revised and enlarged edition of the catalogue raisonné. Alan Wofsy Fine Arts, San Francisco, 1993, cat. no. 12, p. 95, ill.;
CARRETE PARRONDO, J. Goya. Estampas: grabado y litografía, Barcelona: Electa (Random House Mondadori), 2007, p. 363, nº. 110, p. 174.
CAZENAVE, Michel (dir.). Enciclopédie des symboles. Paris, Le Livre de Poche, 2015.
CENTELLAS SALAMERO, Ricardo. “Una prueba inédita de los paisajes grabados por Goya. Su recepción crítica y mercado (1907-1928)” en Artigrama, nº. 32, 2017, pp. 153-179
COBARRUBIAS, Sebastián. Emblemas Morales. Madrid, Luis Sánchez, 1610.
COLTA Ives, BYRNE Janet S, MYERS Mary L. , BOORSCH Suzanne, NAEF Weston J, KIEHL David W. The Metropolitan Museum of Art: Notable Acquisitions, 1965-1975: Prints, Architecture and Ornament. New York, 1975, p. 194,
CRARY, Jonathan. Las técnicas del observador. Murcia, Cendeac, 2008, p. 28.
CUENCA, M.L; DOCAMPO, J y VINATEA, P. Catálogo de las estampas de Goya en la Biblioteca Nacional, Madrid, Biblioteca Nacional, Sociedad Estatal Goya 96 y Lunwerg, 1996, p. 57, nº. 65
DE VESME, A , Le peintre graveur italien. Milano, 1906, nº 69
DÜRER Albrecht, Etliche underricht zu befestigung der Stett, Schloss und Flecken. Nuremberg, Hieronymus Andreae, 1527;
FORLANI TEMPESTA, Anna. Incisioni di Stefano Della Bella.Firenze, Leo S. Olschki Editore, 1973, pp. 148-149, nº. 86.
FORRER, Matthi. Hokusai. Prints and Drawings. London, Royal Academy of Arts, 1991, p. 87.
FORRER, Matthi ; Jūzō, Suzuki y SMITH II, Henry D. Hiroshige. Prints and Drawings. Munich, New York, Prestel, 1997, nºs. 18, 62 y 119.
GALLEGO, J. “Estampas que no forman serie”, en Goya grabador, Madrid: Fundación Juan March, 1994, p. 227-230 [229], 235, n. 6
GASSIER, P. Y WILSON-BAREAU, J. Vida y obra de Francisco Goya: reproducción de su obra completa, pinturas, dibujos y grabados, Barcelona: Juventud, 1974, n. 750, nota p. 166
GODDARD, Stephen, “Modular prints. A special case of the assembled woodcut in the fifteenth and sixteenth centuries” en Grand Scale. Monumental prints in the age of Dürer and Titian. Wellesley, Mass. Davis Museum and Cultural Center, 2008, pp. 87-97
HARRIS, Tomás. Goya Engravings and Lithographs. San Francisco, Alan Wofsy, 1983, vol II, nºs. 23 y 24, pp. 42-43
HEES, Thomas B. Barnett Newman. Museun of Modern Art, New York, 1971, p.107
HOLLSTEIN Friedrich W. H. German engravings, etchings and woodcuts ca. 1400-1700. Amsterdam, Menno Hertzberger, 1954?- vol. 5, p, 200-201.
INGOLD, Tim. “El corte, la grieta y el pliegue” Líneas. Una breve historia. Barcelona, Gedisa, 2015, pp. 72-77.
JOMBERT, Ch. A . Essai d’un catalogue de l’oeuvre d’Etienne della Bella, peintre et graveur florentin. Paris, 1772, 185 (18)
KANDISKY. Punto y línea sobre el plano. Barcelona, Barral Editores, 1971, p. 59
LE STUM, Philippe. La Bretagne de Henri Rivière. Paris, Bibliothèque de l’Image, 2009
LIEURE, Jules. Jacques Callot. Catalogue raisonné de l’oeuvre grave. San Francisco, Alan Wofsy Fine Arts, 1989, vol. I, nº 593.
MARTINEAU, J- ROBINSON, A (Eds) The Glory of Venice. Art in the Eighteenth Century (Exp. cat.). Washington, National Gallery of Art; London, Royal Academy, cat. no. 145.
MEDER Joseph Dürer-Katalog. New York, Da capo Press, 1971, n º 272.
MENA MARQUÉS, M.B., “Paisaje con peñasco y cascada”, en Goya en tiempos de guerra, Madrid, Museo del Prado, 2008, pp. 172-173, nº. 22- 23. https://www.goyaenelprado.es/obras/comparativa/goya/paisaje-con-cascada/?tx_gbgonline_pi1%5Bgoitemcompareuid%5D=1761
MICHENER, James. The Hokusai sketch-Books. Selections from the Manga.Charles E.Tuttle Comp., Rutland , Vermont y Tokio, Japon, 1983
PALMQUIST, Peter E.. Carleton E. Watkins: Photographer of the American West. University of New Mexico Press, 1983.
PALLUCHINI, Rodolfo y GUARNATI, G.F. Le Acquaforti del Canaletto, Venecia, 1945.
PIGNATTI,T, “La pianta di Venezia di Jacopo de’Barbari”. Bollettino dei Musei Civizi Veneziani, IX, 1964, pp. 9-49
RICHTER, Hans. “Une expérience du mouvement dans la peinture et le film”, Gyorgy Kepes (dir.) Nature et art du mouvement. Bruxelles, La Connaissance, 1968, p. 144
SÁNCHEZ CANTÓN, F. “Como vivía Goya”. Archivo Español de Arte, vol. 19, 1946, p.106.
SAYRE, Eleanor, The Changing Image: Prints by Francisco Goya, Boston: Museum of Fine Arts, 1974, nºs. 93 y 94, pp. 122-124
SCHOR, Gabriele. The Prints of Barnett Newman, 1961-1969. Berlin, Hatje Cantz Publishers, 1996, p. 113.
SCHULZ Juergen, “Jacopo de’Barbari´s view of Venice: Map Making, City Views, and Moralized Geography before the Year 1500”, The Art Bulletin, vol. 60, nº 3 (sep.1978), pp. 425-474.
SERVOLINI, L. Jacopo de’Barbari. Padua, 1944
SUCCI Dario “Canaletto. Vistas inventadas tomadas del lugar”, en Dario Succi y Annalia Delneri. Canaletto, Un Venècia imaginària.Barcelona, Centre de Cultura Contemporània de Barcelona, Institut d’Edicions, Diputació de Barcelona, 2001, pp. 33-41 y 80
SUEUR-HERMEL, Valérie (dir.). Henri Rivière. Entre impressionnisme et japonisme. Paris, Bibliothèque Nationale de France, 2009.
USON GARCÍA, R, Fantasía y razón. La arquitectura en la obra de Francisco Goya, Madrid: Abada Editores; Zaragoza: Fundación Goya en Aragón, 2010, p. 98-99.
VESME Alexandre de, Le peintre-graveur Italien. Milan, 1906, cat. no. 12, 13, p. 451
VIVES PIQUÉ, Rosa M. Fortuny (1838-18874). Madrid, Museo Nacional del Prado, 2017
WAJCMAN, Gérard. Fenêtre. Chroniques du regard et de l’intime. Lagrasse, Éditions Verdier, 2006, p. 263.
WILSON-BAREAU, J y SANTIAGO PÁEZ, E., “Ydioma Universal”: Goya en la Biblioteca Nacional, Madrid: Biblioteca Nacional, Sociedad Estatal Goya 96 y Lunwerg, 1996, p. 45, 200, n. 195-196
WILTON-ELY, John. Giovanni Battista Piranesi. The complete etchings. San Francisco, Alan Wofsy Fine Arts, 1994, vol.II, nº , 687 y 708.
YING SUNG, Mei. William Blake and the Art of Engraving. London, Pickering Chatto, 2009, pp. 120-130.
Downloads
Published
Versions
- 2022-03-23 (2)
- 2022-03-23 (1)
How to Cite
Issue
Section
License
Copyright (c) 2022 Maria Rosa Vives Piqué
This work is licensed under a Creative Commons Attribution 4.0 International License.
The
licence allows: Share — copy and redistribute the material in any medium or format and Adapt — remix, transform, and build upon the material for any purpose, even commercially.The licensor cannot revoke these freedoms as long as you follow the license terms. Author's rights are protected by the ISSN 1139-7365. On the w@terfront has no restrictions respect the copyright by the authors and does allow authors to retain the publishing rights without restrictions.This journal does not apply any type of charge to the authors for the presentation or processing of the articles.
