The Color Evolution
colored prints through six centuries
colored prints through six centuries
- Anonymous, God Appearing to Moses
- Wolgemut , Christ Heals a Man
- da Trento, The Philosopher
- Goltzius, St. John
- Gaultier, Les Vespres
- Denon, The Abbot Zani
- Janinet, Marie Antoinette
- Janinet, La Prière Interrompue
- Janinet, Venus en Reflexion
- Janinet, Venus Desarment l’Amour
- Janinet, Le Sommeil d’Ariane
- Pollard & Jukes, Vaux-Hall
- Caldwell, The Blue Passion Flower
- Stadler, The White Lily
- Sutherland, American Bog Plants
- Debucourt, La Course, No. 3
- Debucourt, Le Joueur de Cornemuse
- Raffaëlli, L'Actrice en Scène
- Mariani, Woman on a Forest Pathway
- Maurin, Nu de Dos au Miroir
- Aman-Jean, Jeune Fille à La Chevelure
- Auriol, Concours de Dessin du Journal
- Toulouse-Lautrec, Carnot Malade!
- Rivière, La Vague
- Vallotton, Crimes et Châtiments
- Bonnard, Place Clichy
- Ibels, Le Grappin & L'Affranchie
- Roussel, Paysage avec Maison
- Roussel, Amours Jouant
- Müller, Interno (Young Girl with Cat)
- Orlik, View of Mecheln
- DuGardier, Sur la Plage
- Devambez, Poster for Cendrillon
- Robbe, Sardinières au Port
- Beltrand, Le Laboureur
- Delcourt, La Modiste
- Webster , Campo Santa Margarita
- Oppenheimer, The Quartet
- Urushibara , Fruit in a Bowl
- Drewes, Rotterdam
3. Antonio da Trento (1508-1550) after Parmigianino (1503-1540) The Philosopher |
(click on image to print)
The Philosopher
Chiaroscuro woodcut, ca.1527, 104 x 71 mm., Bartsch XII-142-1. Provenance: Lisa & Leonard Baskin (but without mark).
A strong and very bright impression, but unevenly printed, in black and orange-brown on laid paper, trimmed on or just outside the borderline, which is essentially unbroken; a printer's crease at the center right; the sheet appears to be backed with thin paper containing some text in Greek. Rare. The attribution to Antonio da Trento is always given with a question mark, although it is known that he worked under Parmigianino’s supervision and in his studio from about 1527 to 1530 (some have even suggested that Parmigianino himself made the drawings on the blocks and Antonio merely cut them). He is also known to have left the studio in 1530, absconding with a quantity of drawings by his master. These may have served him well in his later career, as he is thought to have reappeared in Fontainebleau, under the name of Antonio Fantuzzi, producing etchings after Parmigianino’s designs.