Jacques de Gheyn, John VIII Paleologus (Johannes VII Paleologus), ca. 1595, engraving on cream laid paper, 6 3/4 in. x 5 7/8 in. ( cm x cm), Dutch painter and engraver Jacques de Gheyn belonged to a group of artists who overcame the exaggerated and overly artificial formal vocabulary of Dutch Mannerism by adopting a naturalist style based on observation. De Gheyn's engravings of portrait medals, like this example of Paleologus, indicate his interest in naturalism and demonstrate his ability to accurately reproduce the proportions of his sitters' facial characteristics. De Gheyn's en
Jacques de Gheyn, John VIII Paleologus (Johannes VII Paleologus), ca. 1595, engraving on cream laid paper, 6 3/4 in. x 5 7/8 in. ( cm x cm), Dutch painter and engraver Jacques de Gheyn belonged to a group of artists who overcame the exaggerated and overly artificial formal vocabulary of Dutch Mannerism by adopting a naturalist style based on observation. De Gheyn's engravings of portrait medals, like this example of Paleologus, indicate his interest in naturalism and demonstrate his ability to accurately reproduce the proportions of his sitters' facial characteristics. De Gheyn's engraving of Paleologus closely follows the Pisanello portrait medal. It includes similar features of Paleologus's profile, including his hat, hair, nose arch, and pointed beard. In addition to the visual similarities, there are also similarities between the media of the works. The production of both medals and engravings involves the application of significant amounts of pressure onto metal. However, the most significant overlapping quality is the reproducible nature of both medals and engravings, allowing for wide dissemination of each portrait.
Size: 4976px × 5700px
Photo credit: © Artokoloro / Alamy / Afripics
License: Licensed
Model Released: No
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