L'Agenda des Médiévistes

• Présentation par Jean-Christophe ABRAMOVICI
• Élise GILLON (CPGE, lycée Gambetta, Arras) : Augustin, l’éternité a(u) poil.
• Florent POUVREAU (Université de Grenoble II) : « Défaire le poil » : Tonsure, tonte et rasage dans les manuscrits enluminés du Moyen Âge.
• Mathieu MERCIER (Université de Valenciennes) : Comment la barbe vient aux hommes : du poil courtisan féminisé sous Henri III au triomphe du poil belliqueux sous Henri IV.
• Audrey GILLES-CHIKAOUI (Université d’Aix-Marseille-Université d’Ottawa) : Marc Papillon de Lasphrise ou les ambiguïtés du poil.
• Jean-Christophe ABRAMOVICI (Université de Valenciennes) : Le poil et le médecin.
• Daniel CLAUZIER (Musée Sainte Croix, Poitiers) : Deux glabres pour un Barbu : La mort de Hyacinthepar Jean Broc (1801).
• Vincent VIVÈS (Université de Valenciennes) : Quand le cil bas et lourd… : poil et hétérologie.
• Anne ESNAULT (Musée des Beaux Arts, Arras) : Regard sur le poil et ses représentations dans l’histoire de l’art.

In 1550, Hieronymus Cock, a young painter and publisher from Antwerp published a monumental engraving after the School of Athens, the renowned fresco by Raphael in the Vatican. Not only was this a milestone in the dissemination of the Italian High Renaissance outside of Italy, it also marked the success of a relatively new form of organizing the production and distribution of prints. 

In response to the ever growing and rapidly internationalizing demand for printed images several European cities saw the emergence of publishing houses of various sizes throughout the 16th century. 

Publishers would coordinate and finance the production of prints, from the preparatory drawings in the artist’s workshop, to the printing of the woodblock or copper plate at a specialized print shop. A business-minded publisher, coordinating the outsourcing and delegating of work thus became the prevailing standard. This naturally influenced the quality of the prints. Due to the fact that each craftsman involved in the process could dedicate himself entirely to his own specialty, the level of professionalism increased considerably. 

In addition, publishers had an extensive network of agents at their disposal to spread their product internationally. Quite regularly print publishers took the initiative to have specific prints, or print series designed, and they trusted the work to artists and engravers whose work was expected to be commercially successful. Often print publishers had the most decisive impact on what prints would come on the market and how they would look. 

It will come as no surprise then, that publishers were at the forefront of the development of graphic art at the time. Nevertheless, the actual study of these publishing houses, their organization and their production is a fairly recent phenomenon. Within the Romantic concept of the ‘PeintreGraveur’ that exerted such a profound influence on collectors in the 19th and 20th century, the publisher – primarily a commercial actor – played no significant part. 

In the past decades, much new research in this matter has been done. This has led to the wide acceptance of the idea that publishers were key figures in the artistic and commercial aspects of the society they lived in. This colloquium aims to focus on current research concerning print publishers in Early Modern Europe. Special attention is given to commercial and organizational aspects of printing and publishing, the interaction with artists, engravers, printers and publishers, and the artistic and commercial self-development of publishers. 

14h00 :Welcome by Joris Van Grieken followed by a scholarly visit to the exhibition Hieronymus Cock – The Renaissance in Print 

9h30 :Registration with coffee 

10h00 : Opening lecture by Ger Luijten 

11h00 : Joris Van Grieken – No address mentioned. Hieronymus Cock’s ‘generic prints’ 

11h30 : Ed Wouk – Granvelle and Cock: new light on the aims of the Quatre Vents press 

12h00 : Petra Maclot – The Four Winds: The House of the Antwerp Print Publisher Hieronymus Cock

12h30 : Virginie D’Haene – Hieronymus’ Adumbrationes after Matthijs Cock: landscapes ‘in the new Italian or antique way’?

13h00 : Lunch break

14h00 : Huigen Leeflang – The Fischerman and the Cook. Hieronymus Cock, Claes Jansz. Visscher II and their Brand Names 

14h30 : Peter Fuhring – Joannes Galle as an editor of Cock: supply and demand for sixteenth century prints in mid seventeenth century Antwerp 

15h00 : Jan Van der Stock – The Antwerp Print Publisher Merten Peeters van Ghelle (Martinus Petri): in the Shadow of Aux Quatre Vents 

15h30 : Coffee break

16h00 : Pieter Martens – City Views and Siege Maps: New Light on Hieronymus Cock’s Chorographic Prints 

16h30 : Robrecht Janssen – ‘Go on living through this painting, living through my verses’. Dominicus Lampsonius, Jan van Scorel & Anthonis Mor