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Description: The Renaissance Print: 1470–1550
In its genesis the print was a bastard art, and it may be that this very attribute served it best in the shifting commerce of Renaissance culture. From a strictly technical perspective the execution of a painting on panel had little relationship to the incising of a copper plate or the cutting of a design into a plank of pearwood to be inked and then printed. Moreover, the techniques of relief and intaglio printmaking themselves differ markedly in the tools and manipulations required to carry …
PublisherYale University Press
Related print edition pages: pp.7-32

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