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Drawings on paper produced or primed in colour play a prominent role in the art of drawing in the early modern period. What influence did the monochrome surface have on the line, the use of colour and the light-shadow modeling when the drawings were executed? What specific horizons of interpretation are associated with this drawing technique?
For the first time, the contributions in the volume explore these questions using case studies from the North and South. Methodically up-to-date and from a multi-faceted perspective, they offer fundamentally new results on image-theoretical questions of evidentia as well as on art-technological investigations. The focus is on works by Lorenzo Monaco, Benozzo Gozzoli, Hans Pleydenwurff, Hendrick Goltzius, Rembrandt, Govert Flinck, Nicolas Poussin and Caspar Fraisinger, among others.
Drawings on paper produced or primed in colour play a prominent role in the art of drawing in the early modern period. What influence did the monochrome surface have on the line, the use of colour and the light-shadow modeling when the drawings were executed? What specific horizons of interpretation are associated with this drawing technique?
For the first time, the contributions in the volume explore these questions using case studies from the North and South. Methodically up-to-date and from a multi-faceted perspective, they offer fundamentally new results on image-theoretical questions of evidentia as well as on art-technological investigations. The focus is on works by Lorenzo Monaco, Benozzo Gozzoli, Hans Pleydenwurff, Hendrick Goltzius, Rembrandt, Govert Flinck, Nicolas Poussin and Caspar Fraisinger, among others.