Background
He was born in 1558 at Mulebrecht, in the duchy of Julich.
(Harenberg. Germany. 1983. 17 cm. 205 p. Encuadernación en...)
Harenberg. Germany. 1983. 17 cm. 205 p. Encuadernación en tapa blanda de editorial ilustrada. Idioma alemán .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. Cubierta deslucida.
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( • A translation into English prose with fully hyper-lin...)
• A translation into English prose with fully hyper-linked mythological index by A. S. Kline. • With illustrations from the unfinished cycle of Ovid designs by Hendrik Goltzius (The Netherlands, 1558-1617). In the Metamorphoses Ovid retells stories from the Greek myths, arranging them in roughly chronological order, from the origins of the world to his own times. His charming and graceful versions, full of life and interest, express his humanist approach, his feeling for pathos, and his endless curiosity and delight in human affairs. Each tale involves a transformation of some kind, and the whole collection provided a potent source of motifs and images for later art, especially the paintings, sculpture, and verse of the Renaissance. The role of women in the myths seems particularly important to Ovid, and this aspect of his work, his interest in the female element, is reflected elsewhere in his poetry, and strongly influenced European culture. Dante, and Shakespeare, in particular, echo sentiments and imagery in the Metamorphoses. The Metamorphoses are an ideal resource for those wishing to enter the world of the Greek myths, as well as the refined atmosphere of Augustan Rome. Ovid was aware of the scale and beauty of his achievement, and himself ended the work with a promise of his own literary immortality. Published by Poetry in Translation.
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He was born in 1558 at Mulebrecht, in the duchy of Julich.
After studying painting on glass for some years under his father, he was taught the use of the burin by Dirk Volkertsz Coornlert, a Dutch engraver of mediocre attainment, whom he soon surpassed, but who retained his services for his own advantage.
He was employed by Philip Galle to engrave a set of prints of the history of Lucretia.
His unpleasant relations with his wife so affected his health that he found it advisable in 1590 to make a tour through Germany to Italy, where he acquired an intense admiration for the works of Michelangelo, which led him to surpass that master in the grotesqueness and extravagance of his designs.
He returned to Haarlem considerably improved in health, and laboured there at his art till his death,
Goltzius ought not to be judged chiefly by the works he valued most, his eccentric imitations of Michelangelo. His portraits, though mostly miniatures, are masterpieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, the life-size portrait of himself is probably the most striking example. His "master-pieces, " so called from their being attempts to imitate the style of the old masters, have perhaps been overpraised. In his command of the burin Goltzius is not surpassed even by Differ; but his technical skill is often unequally aided by higher artistic qualities. Even, however, his eccentricities and extravagances are greatly counterbalanced by the beauty and freedom of his execution. He began painting at the age of forty-two, but none of his works in this branch of art-some of which are in the imperial collection at Vienna-display any special excellences. He also executed a few pieces in chiaroscuro. His prints amount to more than 300 plates, and are fully described in Bartsch's Peintre-graveur, and Weigel's supplement to the same work.
( • A translation into English prose with fully hyper-lin...)
(Harenberg. Germany. 1983. 17 cm. 205 p. Encuadernación en...)
At the age of twenty-one he married a widow somewhat advanced in years, whose money enabled him to establish at Haarlem an independent business.