User:Keh52/sandbox

My name is Kaia Haney and I am a senior from Duke University double majoring in Public Policy and Political Science and minoring in environmental science and policy. I love to spend time outdoors, travel, and eat good food!

2/20/21:

I have chosen Ugo Da Carpi. His article is currently a stub and contains information on a few of his works and a little information on his style, but not much else.

To add: Bibliography:
 * Confirm information about the frescoes
 * Attempt to find some information about his life and his training
 * Add more information about his work, his development and the method himself
 * Find out what happened to his technique after him and how it developed; other relevant people he inspired
 * Add details about some of his works
 * Johnson, Jan. " Ugo Di Carpi." Oxford Art Online. Jan 31, 2000. http://www.oxfordartonline.com/subscriber/article/grove/art/T014316?q=ugo+di+carpi+&search=quick&pos=4&_start=1#firsthit
 * Takahatake, Naoko. "Ugo Da Carpi." Print Quarterly 27, no. 3 (2010): 317-21. http://www.jstor.org/stable/43746984.
 * "Ugo da Carpi." National Gallery of Art. http://www.nga.gov/content/ngaweb/Collection/artist-info.3694.html
 * "Ugo da Carpi" "Metropolitan Museum of Art. http://www.metmuseum.org/toah/works-of-art/17.50.1/

Draft of Ugo da Carpi article:
Ugo da Carpi (c. 1480 – c. 1532) was an Italian printmaker and painter. He is renowned for his stylistic contributions to chiacoscuro, a wood cutting technique involving the use of several wood blocks to make one print, each block cut to produce a different tone of the same color. He was active between 1520 and 1532 in the cities of Venice, Rome and Bologna.

Ugo trained as a type-founder and painter, although he was most likely either self-taught or taught by local painters. He is the most well-known for his print-making, which was utilized to copy other 15th-century works. His name is well known because, in a break from the printing tradition, he signed his prints. He claims to be the first practitioner of chiacoscuro, requesting a patent from the Venetian senate in 1516 for his unique method, but it is probable that this method had been previously used by both German and Venetian artists. However, he was eventually granted a copyright by the Vatican in 1518, the first papal privileges for prints.

Works
One of his important early commissions was the Sacrifice of Abraham from the Venetian publisher Bernardino Benalius. It was a large black and white print on four joined sheets and it is thought to be designed by Ugo himself, containing clear stylistic elements borrowed from Dürer and Titian. It was following this first commission that he requested a patent for his technique.

Over the years his prints helped to translate and reproduce designs by numerous artists, including Raphael, Baldassare Peruzzi, Parmigianino and Marcantonio. According to Vasari, Ugo da Carpi actually taught the print-making process to Parmigianino. His best known engravings include "Diogenes", "Aeneas Fleeing Troy with Anchises and Ascanius", "Sybil" "Massacre of the Innocents." There is one painting known to be Ugo's work: the Saint Veronica Altarpiece. Due to similarities between a sketch and the final product, it is was likely based off a sketch produced by Parmigianino. It was originally located in the old Saint Peter's and is thought to have been finished between 1524 and 1527. Vasari reported Ugo painted this work using hands, due to the fact that Ugo signed the painting: ‘Per Vgo / da Carpi Intaiatore / fata senza / penello" or "Ugo da Carpi, woodcut engraver, made without the brush." He did in fact use brushes in this painting, but there is also evidence that at times he resorted to using his fingers and fingernails.

Style
Ugo's early works (1516-1517) were mostly created using the traditional two block technique. When working with two blocks, Ugo began by carving the design in the key block and using the tone block for highlights, but overtime he began to use the tone block more in the design. He was working with three and four blocks by 1518. In three different prints of Hercules over the course of 1515, his stylistic development is apparent; he uses increasingly flexible lines and more complex and nuanced shading. As he transitioned to working with 3 and 4 blocks he explored different techniques. These included distributing designs over blocks in a variety of ways, and working to model forms through nuanced use of different tone instead of the more traditional hatching.

Ugo's own printings of his wood cuts use a distinctive palette of soft blues and greens. However, his striking Diogenses carving was printed in green and gold.