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	<title>Pietro Aretino &#8211; the metabunker</title>
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	<description>by matthias wivel &#38; friends</description>
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		<title>Aretino in Print Quarterly</title>
		<link>https://metabunker.dk/2022/05/16/aretino-in-print-quarterly/</link>
		
		<dc:creator><![CDATA[Matthias Wivel]]></dc:creator>
		<pubDate>Mon, 16 May 2022 22:08:54 +0000</pubDate>
				<category><![CDATA[commentary and criticism]]></category>
		<category><![CDATA[hype & linkage]]></category>
		<category><![CDATA[pictorial arts]]></category>
		<category><![CDATA[Pietro Aretino]]></category>
		<category><![CDATA[Print Quarterly]]></category>
		<category><![CDATA[Titian]]></category>
		<guid isPermaLink="false">http://metabunker.dk/?p=8799</guid>

					<description><![CDATA[In the latest issue of Print Quarterly, vol. 39, no. 1, I review three publications &#8212; an exhibition catalogue from the Uffizi and two scholarly anthologies &#8212; around the Venetian writer, polemicist and literary activist Pietro Aretino (1492-1556), with a specific view to their treatment of Aretino&#8217;s relationship with prints and printmaking. Aretino was involved&#8230;]]></description>
										<content:encoded><![CDATA[<p><a href="http://metabunker.dk/?attachment_id=8800" rel="attachment wp-att-8800"><img fetchpriority="high" decoding="async" src="http://metabunker.dk/wp-content/uploads/RCT_Aretino_profile_crop-500x616.jpg" alt="" title="RCT_Aretino_profile_crop" width="500" height="616" class="alignleft size-medium wp-image-8800" srcset="https://metabunker.dk/wp-content/uploads/RCT_Aretino_profile_crop-500x616.jpg 500w, https://metabunker.dk/wp-content/uploads/RCT_Aretino_profile_crop-830x1024.jpg 830w, https://metabunker.dk/wp-content/uploads/RCT_Aretino_profile_crop.jpeg 1338w" sizes="(max-width: 500px) 100vw, 500px" /></a><br />
In the latest issue of <a target="new" href="https://printquarterly.co.uk/contents-of-volume-39-2022/"><em>Print Quarterly</em>, vol. 39, no. 1</a>, I review three publications &#8212; an exhibition catalogue from the Uffizi and two scholarly anthologies &#8212; around the Venetian writer, polemicist and literary activist Pietro Aretino (1492-1556), with a specific view to their treatment of Aretino&#8217;s relationship with prints and printmaking. </p>
<p>Aretino was involved in printmaking throughout his career, employing it as a way of self-promotion but also encouraging creative engagement in the medium on the part of his friends, not least Titian. In the review, I reattribute the design of an engraved portrait of Aretino of around 1534 by Jacopo Caraglio, and a woodcut frontispiece based on the same model, to Titian. Consult the issue at your local art library!</p>
<p>Publications reviewed: Anne Bisceglia, Matteo Ceriana and Paolo Procaccioli, eds., <em>Pietro Aretino a l&#8217;arte nel Rinascimento</em>, exh. cat. Florence, Uffizi, Florence 2019; Anne Bisceglia, Matteo Ceriana and Paolo Procaccioli, eds., <em>&#8220;Pietro Pictore Aretino&#8221;: Una parola complice per l&#8217;arte del Rinascimento</em>, Venice 2019; and Anne Bisceglia, Matteo Ceriana and Paolo Procaccioli, eds., <em>Inchiostro per colore: arte e artisti in Pietro Aretino</em>, Rome 2019.  </p>
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