Das franzosische Thesenblatt im 17. Jahrhundert: Drei Studien zur allegorischen Gattungsgenese

This publication explores 17th-century French illustrated thesis prints, highlighting the work of important artists like Charles LeBrun, Claude Vignon, and Claude Mellan. It examines artistic practices of copying, variation, and reuse, and discusses the significance of quotation and allegorical polyvalence in Early Modern printmaking. Three object studies provide comprehensive interpretations of complex allegories, considering Baroque rhetorics, emblematics, political iconography, intertextuality, and ephemeral practices.

Format: Hardback
Length: 287 pages
Publication date: 06 May 2024
Publisher: De Gruyter

This publication is a comprehensive exploration of 17th-century illustrated French thesis prints, delving into both historical and theoretical aspects. It pays tribute to prominent artists like Charles LeBrun, Claude Vignon, and Claude Mellan, who were responsible for creating intricate copperplate engravings commissioned for public defense ceremonies. Through three object studies, the publication sheds light on artistic practices of copying, variation, and reuse of prints, as well as the representation of ideas through art. These in-depth analyses offer comprehensive interpretations of often complex allegories, considering Baroque rhetorics, emblematics, political iconography, intertextuality, and ephemeral practices. Moreover, the publication engages in a theoretical reflection on artistic genres, particularly emphasizing the significance of quotation and allegorical polyvalence, as first theorized by Walter Benjamin, in Early Modern printmaking and other visual arts.

Introduction:
The 17th century witnessed a remarkable flourishing of illustrated French thesis prints, serving as a visual representation of academic knowledge and intellectual pursuits. These prints, often adorned with elaborate copperplate engravings, were commissioned for public defense ceremonies and played a crucial role in the dissemination of knowledge during the Baroque period. This publication aims to delve into the historical and theoretical aspects of these prints, exploring the artistic practices, allegorical meanings, and the broader cultural context in which they emerged.

Artistic Practices:
Three object studies are presented in this publication to examine the artistic practices of copying, variation, and reuse of prints. The first study focuses on the use of allegorical imagery in thesis prints, exploring how artists employed symbolic representations to convey complex ideas and themes. The second study examines the role of quotation in these prints, highlighting how artists incorporated borrowed words and phrases to add depth and meaning to their works. The third study explores the practice of reuse, examining how artists repurposed existing prints to create new compositions or adapt them to different contexts.

Allegorical Imagery:
Allegorical imagery was a prominent feature of 17th-century thesis prints, allowing artists to convey complex ideas and themes in a visually appealing and accessible manner. These prints often featured intricate allegories, symbols, and metaphors, which were meant to be interpreted by the viewer. The first study explores the use of allegorical imagery in thesis prints by examining the works of Charles LeBrun, Claude Vignon, and Claude Mellan. These artists were known for their skill in creating elaborate and intricate engravings, which often contained complex allegories and symbols.

Quotation:
Quotation was another important artistic practice in 17th-century thesis prints. Artists used borrowed words and phrases to add depth and meaning to their works, often drawing on classical literature, religious texts, and other sources. The second study examines the role of quotation in these prints by examining the works of Charles LeBrun, Claude Vignon, and Claude Mellan. These artists were known for their skill in incorporating borrowed words and phrases into their engravings, which often added layers of meaning and complexity to their works.

Reuse:
Reuse was a common practice in 17th-century thesis prints, as artists sought to maximize the use of their materials and minimize waste. The third study explores the practice of reuse by examining the works of Charles LeBrun, Claude Vignon, and Claude Mellan. These artists were known for their skill in repurposing existing prints to create new compositions or adapt them to different contexts.

Theoretical Reflection:
In addition to the object studies, this publication also engages in a theoretical reflection on artistic genres. The significance of quotation and allegorical polyvalence, as first theorized by Walter Benjamin, in Early Modern printmaking and other visual arts is discussed. Benjamin's ideas about the ability of art to transcend time and space and to contain multiple meanings are explored in relation to the thesis prints of the 17th century.

Conclusion:
In conclusion, this publication offers a comprehensive exploration of 17th-century illustrated French thesis prints, delving into both historical and theoretical aspects. Through three object studies and a theoretical reflection on artistic genres, it sheds light on the artistic practices, allegorical meanings, and the broader cultural context in which these prints emerged. The significance of quotation and allegorical polyvalence, as first theorized by Walter Benjamin, in Early Modern printmaking and other visual arts is discussed, highlighting the enduring power and relevance of these prints in the world of art.

Weight: 860g
Dimension: 179 x 247 x 24 (mm)
ISBN-13: 9783111100623