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Archaeology of the Printed Page
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This chapter examines Augsburg artist Jörg Breu’s use of Italian prints as source material and selective application of the antique manner. From the second decade of the sixteenth century onward, the painter, printmaker, and designer of glass roundels appears to have treated a store of Italian prints like a medieval model book, isolating useful poses, motifs, and architectural elements for reincorporation into new compositions. The collaboration between Konrad Peutinger and Jörg Breu for the decoration of the Prayer Book of Maximilian I is pinpointed as the driving force behind Breu’s embrace of Italianate motifs as gleaned from printed prototypes. Furthermore, the Prayer Book is identified as the site of development for a proto-emblem representing festina lente.
Title: Archaeology of the Printed Page
Description:
This chapter examines Augsburg artist Jörg Breu’s use of Italian prints as source material and selective application of the antique manner.
From the second decade of the sixteenth century onward, the painter, printmaker, and designer of glass roundels appears to have treated a store of Italian prints like a medieval model book, isolating useful poses, motifs, and architectural elements for reincorporation into new compositions.
The collaboration between Konrad Peutinger and Jörg Breu for the decoration of the Prayer Book of Maximilian I is pinpointed as the driving force behind Breu’s embrace of Italianate motifs as gleaned from printed prototypes.
Furthermore, the Prayer Book is identified as the site of development for a proto-emblem representing festina lente.
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