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2016-10-23Zeitschriftenartikel DOI: 10.18452/7578
Reproducing il primo quadro del mondo
dc.contributor.authorMardilovich, Galina
dc.contributor.editorBaumewerd), Aleksandra Lipińska (in collaboration with Stéphanie
dc.date.accessioned2017-06-16T15:56:59Z
dc.date.available2017-06-16T15:56:59Z
dc.date.created2016-10-24
dc.date.issued2016-10-23
dc.identifier.urihttp://edoc.hu-berlin.de/18452/8230
dc.description.abstractFedor Iordan (1800-1883) spent more than twenty years in Europe studying printmaking as a pensioner of the Russian Imperial Academy of Arts: first in Paris, then in London, and finally, from 1835 in Rome, where he embarked on his monumental engraving of Raphael’s Transfiguration. Scrutinising the production and reception of this print – which took fifteen years to complete and afforded the artist an opportunity to remain in Italy – this essay reconsiders Iordan’s work within the wider context of international printmaking and, within the emerging debates about Russia’s position in transnational artistic developments and its national distinctiveness.eng
dc.language.isoeng
dc.publisherHumboldt-Universität zu Berlin
dc.subjectArt Historyeng
dc.subjectRussiaeng
dc.subjectFedor Iordaneng
dc.subjectPrintmakingeng
dc.subjectRaphaeleng
dc.titleReproducing il primo quadro del mondo
dc.typearticle
dc.subtitleFedor Iordan’s Engraving of Raphael’s Transfiguration, 1835-1850
dc.identifier.urnurn:nbn:de:kobv:11-100241482
dc.identifier.doihttp://dx.doi.org/10.18452/7578
local.edoc.container-titleMobility of artists in Central and Eastern Europe between 1500 and 1900
local.edoc.type-nameZeitschriftenartikel
local.edoc.container-typeperiodical
local.edoc.container-type-nameZeitschrift
local.edoc.container-volume2016
local.edoc.container-issue3
local.edoc.container-firstpage6
local.edoc.container-erstkatid2063498-5

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