To browse Academia. Nikolaus Glockendon ca. This paper contextualizes Glockendon's imitative practice within the traditions of medieval art, the hierarchy of style in late medieval literature, the practice of finishing in illuminated manuscripts, the entrepreneurial trends in book illustration after the invention of printing, the contemporary conceptions of artistic property and conventions of exchange, and the documented standards of value in sixteenth-century German craftsmanship.
Two case studies of the reception of printed images from Germany in Poland in the sixteenth century. They then wrote words, or parts of words, painted, and made marks on the surfaces of their multi-media objects. Marks they made united the various layers. The scraps of newspaper were of course cheaply printed and contained black-and-white texts and images, which the artists trimmed into various shapes, thereby adjusting the meanings of the scraps.
To some degree, the newsprint functioned as texture or shading. Although their Synthetic Cubism is anthologised in art history books as being avant-garde and crossing borders by introducing printed paper into a high-culture form of production, in fact these features were already present in the fifteenth century, when book makers were cutting and pasting printed images into new arrangements, applying paint and ink that would connect the various pasted layers, and creating fictive frames around physical scraps.
Fifteenth-century monastics inscribed text in various styles, some of which were meant to imitate printed letters. They then stitched their creations together with threads and bound them in leather. These book makers were in effect assembling new multi-media objects, whose elements crossed boundaries between high and low. The affinities between the fifteenth-and 5 0. Introduction: Hybrid Books in Flux and you may be reading it on a screen; its existence as a paper object may have been brief or unnecessary.
The late fifteenth and early sixteenth centuries, like our own era, also entertained multiple medialities, which enjoyed shifting levels of dominance across time and in various contexts. Encased as it was between two strong covers, the codex was self-protecting.
