Platemark: prints and the printmaking ecosystem

In s2e10, co-hosts Ann Shafer and Tru Ludwig continue talking about Italian printmaking in the 16th century focusing on MarcAntonio Raimondi, Agostino Veneziano, Giulio Romano, and our first female artist, Diana Scultori. They take a deep dive into MarcAntonio's Judgment of Paris (after a drawing by Raphael), from which Edouard Manet extracted the figural group for Déjuener sur l'herbe. Plus, the 1527 Sack of Rome changes everything. Episode image: Marcantonio Raimondi (Italian, c. 1480–before 1534), after Raphael (Italian, 1483–1520). The Judgment of Paris, c. 1510–20. Engraving. Sheet (trimmed within platemark): 11 7/16 x 17 3/16 in. (291 x 437 mm.). Metropolitan Museum of Art, New York. Domenico Campagnola (Italian, 1500–1564), possibly after a drawing by Titian (Italian, c. 1485/90–1575). Battle of the Nude Men, 1517. Engraving. Sheet (trimmed to plate): 8 3/4 × 8 15/16 in. (222 × 227 mm.). Metropolitan Museum of Art, New York. Marcantonio Raimondi (Italian, 1480–1527/34), after Raphael (Italian, 1483–1520). The Death of Lucretia, c. 1511–12. Engraving. Sheet (trimmed within platemark): 216 x 134 mm. (8 ½ x 5 ¼ in.). Museum of Fine Arts, Boston. Marco Dente da Ravenna (Italian, active by 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1506. Engraving. Sheet (trimmed to platemark): 11 1/8 × 15 5/8 in. (282 × 397 mm.). Metropolitan Museum of Art, New York. Marco Dente da Ravenna (Italian, active by 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1520. Engraving. Sheet (trimmed to platemark): 17 7/16 × 12 15/16 in. (443 × 329 mm.). Metropolitan Museum of Art, New York. Michelangelo (Italian, 1475–1564). David, 1502–04. Marble. Galerie dell'Accademia, Florence, Italy. William Blake (English, 1757–1827). Laocoon, 1825–27. Etching and engraving. 276 x 229 mm. Titian (Italian, c. 1488/90–1576). Bacchus and Ariadne, 1522–23. Oil on canvas. 69 ½ x 75 in. (176.5 x 191 cm.). National Gallery, London. Giorgione (Italian 1477/78–1510). The Tempest, c. 1508. Oil on canvas. 83 x 73 cm. (33 x 29 in.). Galerie dell'Accademia, Venice. Marcantonio Raimondi (Italian, c. 1480–before 1534), after Raphael (Italian, 1483–1520). The Judgment of Paris, c. 1510–20. Engraving. Sheet (trimmed within platemark): 11 7/16 x 17 3/16 in. (291 x 437 mm.). Metropolitan Museum of Art, New York. Titian (Venetian, 1488/1490–1576). Pastoral Concert or Fête champêtre, c.1508-10. Oil on canvas. 105 x 137 cm. Musée du Louvre, Paris. Édouard Manet (French, 1832–1883). Le Déjenuer sur l'herbe, 1863. Oil on canvas. 208 x 264.5 cm. Musée d'Orsay. Paris. Diana Scultori (Italian, 1536–1588). The Virgin and Child accompanied by many angels seated on a bank of clouds, 1547–1612. Engraving. Sheet (trimmed to platemark): 330 x 416 mm. British Museum, London. Diana Scultori (Italian, 1536–1588), after Giulio Romano (Italian, c. 1499–1546). Christ and the Woman taken in adultery, standing between two Salomonic columns of a temple, 1575. Engraving. Sheet (trimmed to platemark): 420 x 577 mm. British Museum, London. Diana Scultori (Italian, 1536–1588), after Giorgio Vasari (Italian, 1511–1574). The Visitation, 1588. Engraving. Sheet (trimmed to platemark): 390 x 284 mm. British Museum, London. Diana Scultori (Italian, 1536–1588), after Giulio Romano (Italian, c. 1499–1546). The archangels Michael, Gabriel and Raphael adoring the Virgin and Child who occur above seated on a cloud, 1547–1612. Engraving. Sheet (trimmed to platemark): 340 x 270 mm. British Museum, London.

In s2e9, co-hosts Ann Shafer and Tru Ludwig continue their conversation about early Italian printmaking with a strong focus on the engravings of Andrea Mantegna. They also talk about chiaroscuro woodcuts, always keeping the North within eyesight. Episode image: Andrea Mantegna (Italian, c. 1431–1506). Risen Christ between Saints Andrew and Longinus, c. 1470/75. Engraving. Sheet: 329 x 306 mm. (12 15/16 x 12 1/16 in.). National Gallery of Art, Washington, D.C. Master E.S. (German, active c. 1450–1467). St. Matthias, c. 1450–60. Engraving. Sheet (trimmed within platemark): 149 × 89 mm. (5 7/8 × 3 1/2 in.). Baltimore Museum of Art, Baltimore. Master of the E-Series Tarocchi (Italian, active c. 1465). Polyhymnia, c. 1465. Engraving with hand coloring. Sheet: 185 × 105 mm. (7 5/16 × 4 1/8 in.); plate: 180 × 99 mm. (7 1/16 × 3 7/8 in.). Baltimore Museum of Art, Baltimore. Antonio Pollaiuolo (Italian, c. 1432–1498). Hercules and Antaeus, c. 1475–80. Bronze. Museum Nazionale del Bargello, Florence, Italy. Hubert van Eyck (Netherlandish, 1370–1426) and Jan van Eyck (Netherlandish, 1390–1441). Adoration of the Mystic Lamb or The Ghent Altarpiece, 1432. Oil and tempera on wood. 138 x 181 in. St. Bavo's Cathedral, Ghent, Belgium. Masaccio (Italian, 1401–1428). The Holy Trinity with the Virgin and St. John and donors, 1425–27. Fresco painting in chapel. 236 x 125 in. in Santa Maria Novella, Florence, Italy. Antonio Pollaiuolo (Italian, c. 1432–1498). Battle of the Ten Nude Men, c. 1490. Engraving. Sheet (trimmed within platemark): 384 x 589 mm. (15 1/8 x 23 3/16 in.). Metropolitan Museum of Art, New York. Johannes de Ketham (German, 15th century). Fasciculus Medicinae, 1491. Bound volume published in Venice. Francesco Colonna (Italian, 1433/34–1527). Hypnerotomachia Polyphili, 1499. Bound volume published in Venice. Lucas Cranach the Elder (Germany, 1472–1553). Saint Christopher, c. 1509. Chiaroscuro woodcut printed in black and red-brown. Image: 11 x 7 1/2 in. (279 x 191 mm.). Minneapolis Institute of Arts, Minneapolis. Ugo da Carpi (Italian, c. 1470–1532), after Titian (Italian, 1489/90–1576). St Jerome in the desert seated facing left, c.1516. Chiaroscuro woodcut with two color blocks in green. Sheet: 156 x 95 mm. British Museum, London. Ugo da Carpi (Italian, c. 1470–1532), after Parmigianino (Italian, 1503–1540). Diogenes, c. 1527–30. Chiaroscuro woodcut printed from four blocks in gray-green. Image: 18 11/16 x 13 5/8 in. (475 x 346 mm.). Metropolitan Museum of Art, New York. Andrea Mantegna (Italian, c. 1431–1506). Camera degli Sposi, Gonzaga Ducal Palace, Mantua, Italy. Andrea Mantegna (Italian, c. 1431–1506). The Entombment, 1465–75. Engraving. Sheet (trimmed within plate): 229 x 439 mm. Art Institute of Chicago, Chicago. Ara Pacis Augustae, 13 BCE. Rome. Andrea Mantegna (Italian, c. 1431–1506). Risen Christ between Saints Andrew and Longinus, c. 1470/75. Engraving. Sheet: 329 x 306 mm. (12 15/16 x 12 1/16 in.). National Gallery of Art, Washington, D.C. Andrea Mantegna (Italian, c. 1431–1506). Bacchanal with Silenus, before 1475. Engraving with drypoint. Sheet: 12 in. × 17 1/4 in. (305 × 438 mm.). Metropolitan Museum of Art, New York. Andrea Mantegna (Italian, c. 1431–1506). Bacchanal with a Wine Vat, c. 1470–90. Engraving and drypoint. Sheet: 11 3/4 x 17 3/16 in. (299 x 437 mm.). Metropolitan Museum of Art, New York. Andrea Mantegna (Italian, c. 1431–1506). Battle of the Sea Gods, 1470s. Engraving and drypoint. Sheet: 340 x 451 mm. (13 ¼ x 17 ¾ in.). Minneapolis Institute of Arts, Minneapolis. Andrea Mantegna (Italian, c. 1431–1506). St Sebastian, c. 1506. Tempera on canvas. 213 x 95 cm. Galleria Franchetti, Ca' d'Oro, Venice. Andrea Mantegna (Italian, c. 1431–1506). Lamentation over the Dead Christ, c. 1483. Tempera on canvas. 680 x 810 mm. Pinacoteca di Brera, Italy. Albrecht Dürer (German, 1471–1528). The Virgin with the Swaddled Child, 1520. Engraving. Sheet (trimmed to platemark): 142 × 906 mm. (5 9/16 × 3 3/4 in.). Yale University Art Museum, New Haven. Andrea Mantegna (Italian, c. 1431–1506). The Virgin and Child, c. 1480–85. Engraving. Plate (trimmed within platemark): 8 1/8 x 8 3/16 in. (206 x 208 mm.); sheet: 10 5/16 x 9 3/16 in. (262 x 233 mm.). Metropolitan Museum of Art, New York.

In s2e8, co-hosts Ann Shafer and Tru Ludwig talk about the early history of prints and books in Italy, comparing it to Northern Europe. Differences in style and materials are discussed using the example of Masaccio's The Holy Trinity with the Virgin and St. John and donors, 1425–27, the fresco painting in chapel in Santa Maria Novella, Florence, Italy, and the Ghent Altarpiece, Jan and Hubert van Eyck's Adoration of the Mystic Lamb, 1432, an oil and tempera on wood multi-paneled altarpiece in St. Bavo's Cathedral, Ghent, Belgium. Circling back to prints, we also talk a lot about Antonio Pollaiuolo's engraving, the landmark Battle of the Ten Nude Men, c. 1490. Of course, Dürer pops back up, too. Master E.S. (German, active c. 1450–1467). St. Matthias, c. 1450–60. Engraving. Sheet (trimmed within platemark): 149 × 89 mm. (5 7/8 × 3 1/2 in.). Baltimore Museum of Art, Baltimore. Master of the E-Series Tarocchi (Italian, active c. 1465). Polyhymnia, c. 1465. Engraving with hand coloring. Sheet: 185 × 105 mm. (7 5/16 × 4 1/8 in.); plate: 180 × 99 mm. (7 1/16 × 3 7/8 in.). Baltimore Museum of Art, Baltimore. Antonio Pollaiuolo (Italian, c. 1432–1498). Hercules and Antaeus, c. 1475–80. Bronze. Museum Nazionale del Bargello, Florence, Italy. Hubert van Eyck (Netherlandish, 1370–1426) and Jan van Eyck (Netherlandish, 1390–1441). Adoration of the Mystic Lamb or The Ghent Altarpiece, 1432. Oil and tempera on wood. 138 x 181 in. St. Bavo's Cathedral, Ghent, Belgium. Masaccio (Italian, 1401–1428). The Holy Trinity with the Virgin and St. John and donors, 1425–27. Fresco painting in chapel. 236 x 125 in. in Santa Maria Novella, Florence, Italy. Antonio Pollaiuolo (Italian, c. 1432–1498). Battle of the Ten Nude Men, c. 1490. Engraving. Sheet (trimmed within platemark): 384 x 589 mm. (15 1/8 x 23 3/16 in.). Metropolitan Museum of Art, New York. Johannes de Ketham (German, 15th century). Fasciculus Medicinae, 1491. Bound volume published in Venice. Francesco Colonna (Italian, 1433/34–1527). Hypnerotomachia Polyphili, 1499. Bound volume published in Venice. Lucas Cranach the Elder (Germany, 1472–1553). Saint Christopher, c. 1509. Chiaroscuro woodcut printed in black and red-brown. Image: 11 x 7 1/2 in. (279 x 191 mm.). Minneapolis Institute of Arts, Minneapolis. Ugo da Carpi (Italian, c. 1470–1532), after Titian (Italian, 1489/90–1576). St Jerome in the desert seated facing left, c.1516. Chiaroscuro woodcut with two color blocks in green. Sheet: 156 x 95 mm. British Museum, London. Ugo da Carpi (Italian, c. 1470–1532), after Parmigianino (Italian, 1503–1540). Diogenes, c. 1527–30. Chiaroscuro woodcut printed from four blocks in gray-green. Image: 18 11/16 x 13 5/8 in. (475 x 346 mm.). Metropolitan Museum of Art, New York.

In s2e7, co-hosts Ann Shafer and Tru Ludwig discuss intaglio printmaking techniques, which include engraving, etching, mezzotint, and drypoint. They also talk about aquatint and other methods of getting an image incised into a copper plate. Images related to the episode are at platemarkpodcast.com.

In s2e6, co-hosts Ann Shafer and Tru Ludwig discuss relief printmaking techniques, which include woodcuts and linoleum cuts. They also talk about reduction woodcuts, aka suicide woodcuts.

In s2e5, co-hosts Ann Shafer and Tru Ludwig talk about paper as a support and the ink that is transferred from a matrix. Without these two materials, prints wouldn't exist.

In Platemark s2e4, co-hosts Ann Shafer and Tru Ludwig finish talking about Albrecht Dürer. He had a remarkable career, and changed the perception and reception of prints in Europe at the beginning of the 16th century. Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving. 25.1 x 20 cm (9 7/8 x 7 7/8 in). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Ecce Homo, from the series Large Woodcut Passion, c. 1498. Woodcut. Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). Ecce Homo, from the series Large Woodcut Passion, c. 1498. Woodcut with hand coloring. Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). The Bearing of the Cross, from the series Large Woodcut Passion, 1511. Woodcut. Sheet: 17 3/8 x 11 15/16 in. (441 x 304 mm.); image: 15 1/2 x 11 1/16 in. (393 x 281 mm.). Metropolitan Museum of Art, New York. Martin Schongauer (German, c. 1435/50–1491). Christ Carrying the Cross, c. 1475–80. Engraving. Sheet: 11 3/8 × 16 7/8 in. (289 × 429 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Christ Carrying the Cross, from the series Small Woodcut Passion, 1511. Woodcut. Sheet: 5 x 3 13/16 in. (127 x 97 mm.). Minneapolis Institute of Arts. Minneapolis. Albrecht Dürer (German, 1471–1528). Christ Carrying the Cross, from the series Engraved Passion, 1512. Engraving. Sheet: 4 9/16 × 2 15/16 in. (116 × 74 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Crucifixion, from the series Engraved Passion, 1511. Engraving. Sheet: 120 x 78 mm.; plate: 118 x 75 mm. Art Institute of Chicago, Chicago. Andrea Mantegna (Italian, 1430/31–1506). The Entombment of Christ, before 1475. Engraving and drypoint. Plate: 11 7/16 x 16 3/8 in. (290 x 416 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Madonna of the Crescent, frontispiece to the series Life of the Virgin, c. 1511. Woodcut. Sheet: sheet: 16 7/8 x 11 9/16 in. (429 x 294 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Birth of the Virgin, from the series Life of the Virgin, c. 1503. Woodcut. Sheet: 11 11/16 x 8 1/8 in. (297 x 206 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Death of the Virgin, from the series Life of the Virgin, 1510. Woodcut. Sheet: 11 9/16 x 8 3/16 in. (294 x 208 mm.). Metropolitan Museum of Art, New York. Rembrandt van Rijn (Dutch, 1606–1669). The Death of the Virgin, 1639. Etching and drypoint. Sheet: 16 1/8 x 12 3/8 in. (410 x 314 mm.). Metropolitan Museum of Art, New York. Marcantonio Raimondi (Italian, c. 1480–before 1534), after Albrecht Dürer (German, 1471–1528). The Ascension of Christ in Heaven, c. 1500–35. Woodcut. Sheet: 5 1/16 × 4 in. (129 × 102 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Andrea del Verrocchio (Italian, 1435–1488) and Alessandro Leopardi (Italian, 1466–1512). Equestrian Statue of Bartolomeo Colleoni, 1488. Cast bronze. Campo Santi Giovanni e Paolo, Venice. Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 393 x 285 mm (15 1/2 x 11 1/4 in). Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). St. Jerome in His Study, 1514. Engraving. Sheet (trimmed to platemark): 9 11/16 x 7 7/16 in. (246 x 189 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). St. Jerome, 1492. Woodcut. 190 x 133 mm. Kupferstichkabinett, Offentliche Kunstsammlung, Basel. Albrecht Dürer (German, 1471–1528). Melencolia I, 1514. Engraving. Sheet (trimmed to platemark): 9 7/16 × 7 5/16 in. (240 × 185 mm.). Metropolitan Museum of Art, New York. Raphael (Italian, 1483–1520). Portrait of Michelangelo as Heraclitus, School of Athens. Stanza della Segnatura, 1509–1511. Fresco wall painting. The Vatican. Albrecht Dürer (German, 1471–1528). Rhinoceros, 1515. Woodcut. 233 x 292 mm. (9 3/16 x 11 1/2 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Agony in the Garden, 1515. Etching. Sheet: 9 3/16 × 6 9/16 in. (234 × 166 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Triumphal Arch of Maximilian I, 1515. 195 woodblocks printed on 36 sheets of large folio paper. Overall size: 354 x 298.5 cm (139 3/8 x 117 1/2 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Triumphal Chariot of Maximilian I, 1523. Eight woodcuts joined. Sheet: 53.02 × 233.76 cm (20 7/8 × 92 in.). National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). Four Apostles, 1526. Oil on two panels. Each: 215 x 76 cm. (85 x 30 in.). Alte Pinakothek, Bayreische Staatsgemäldesammlung, Munich. Andrea Mantegna (Italian, c. 1431–1506). St. Seb

In this bonus episode, co-hosts Ann Shafer and Tru Ludwig talk about how they got into art in the first place. From early childhood encounters through college, the hosts reveal why they love art and believe wholeheartedly in its transformative power.

In s2e3, co-hosts Ann Shafer and Tru Ludwig finally start talking about an artist. While there are artists of note before Dürer--say Martin Schongauer--he really changes everything. From his monogram claiming authorship to marketing his works, Dürer is the man. So much so that Ann and Tru only get through half of his story. A second episode will continue Dürer's story. Albrecht Dürer (German, 1471–1528). Self-Portrait at Thirteen, 1484. Silverpoint on prepared paper. 27.3 x 19.5 cm. (10 3/4 x 7 5/8 in.). Albertina, Vienna. Jan van Eyck (Netherlandish, 1390–1441). Arnolfini Portrait, 1434. Oil on wood. 32 x 24 in. National Gallery, London. Jan Van Eyck (Flemish, active 1422–1441). Portrait of a Man (Self-Portrait), 1433. Oil on oak. 26 x 19 cm. (10 ¼ x 7 ½ in.). National Gallery, London. Hugo van der Goes (Flemish, c. 1430/1440–1482). Portinari Altarpiece, 1475–76. Oil on wood. 253 x 304 cm. (99 ½ x 119 5/8 in.). Galleria degli Uffizi, Florence. Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm. (11 13/16 x 8 9/16 in.). Metropolitan Museum of Art, New York. Antonio Pollaiuolo (Florentine, 1429 or 1433–1498). Battle of the Nudes or Battle of the Naked Men, c. 1470–90. Engraving. 39.3 x 57.9 cm. (15 ½ x 22 3/4 in.). Cincinnati Art Museum. Albrecht Dürer (German, 1471–1528). Self-Portrait, 1500. Oil on panel. 67.1 × 48.9 cm. (26 1/3 × 19 1/3 in.). Bayerische Staatsgemäldesammlungen - Alte Pinakothek München. Albrecht Dürer (German, 1471–1528). Self-Portrait, 1498. Oil on panel. 52 x 41 cm. (20 ½ x 16 1/8 in.). Museo del Prado, Madrid. Albrecht Dürer (German, 1471–1528). The Virgin Appearing to Saint John, from the series The Apocalypse, 1498. Woodcut. Sheet: 44.1 x 30.3 cm. (17 3/8 x 11 15/16 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Saint John Devouring the Book, from the series The Apocalypse, 1498. Woodcut. Sheet: 44.1 x 30.6 cm. (17 3/8 x 12 1/16 in.); image: 39.4 x 28.3 cm. (15 1/2 x 11 1/8 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Saint Michael Fighting the Dragon, from the series The Apocalypse, 1511. Woodcut. Image: 39.2 x 28.3 cm. (15 7/16 x 11 1/8 in.); sheet: 44.1 x 30.5 cm. (17 3/8 x 12 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Martyrdom of Saint John, from the series The Apocalypse, 1511. Woodcut. Sheet: 39.1 x 28.3 cm. (15 3/8 x 11 1/8 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 39.3 x 28.5 cm. (15 1/2 x 11 1/4 in.). Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). The Vision of the Seven Candlesticks, from the series The Apocalypse, 1498. Woodcut. 44.1 x 30.5 cm. (17 3/8 x 12 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Saint John Devouring the Book, from the series The Apocalypse, 1498. Woodcut. Sheet: 44.1 x 30.6 cm (17 3/8 x 12 1/16 in.); image: 39.4 x 28.3 cm (15 1/2 x 11 1/8 in). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Four Female Nudes (The Four Witches), 1497. Engraving. 19.2 x 13.6 cm (7 5/8 x 5 3/8 in). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). Nemesis (The Great Fortune), c. 1501–02. Engraving. Plate: 33.5 x 23.3 cm (13 3/16 x 9 3/16 in); sheet: 36 x 25.9 cm (14 3/16 x 10 3/16 in). National Gallery of Art, Washington. Albrecht Dürer (German, 1471–1528). The Great Piece of Turf, 1503. Watercolor and gouache heighted with white, mounted on cardboard. 40.8 x 31.5 cm (16 x 12 3/8 in). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). Young Hare, 1502. Watercolor heightened with white. 25 x 22.5 cm. (9 ¾ x 8 ¾ in.). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). Praying Hands, 1508. Brush and gray wash heightened with white on blue prepared paper. 29.1 x 19.7 cm (11 1/2 x 7 3/4 in). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving (second state). 25.4 x 19.5 cm (10 x 7 5/8 in). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving. 25.1 x 20 cm (9 7/8 x 7 7/8 in). Metropolitan Museum of Art, New York. Zoom in: https://www.metmuseum.org/art/collection/search/336222?searchField=All&sortBy=Relevance&ft=Durer+Fall+of+Man&offset=0&rpp=20&pos=12

In s2e2, co-hosts Ann Shafer and Tru Ludwig talk about Europe in the 15th century and the state of printmaking, the printing press, moveable type, and early woodcuts. This episode sets the stage for the rest of the story of the history of Western printmaking.

Platemark Series Two, History of Prints kicks off with Ann Shafer and co-host Tru Ludwig introducing the series. They talk about teaching the History of Prints (HoP) for the Maryland Institute College of Art (MICA) using the print collection at the Baltimore Museum of Art over the course of 15 years. They talk about how the class brought them together and about how transformative it was for hundreds of MICA's BFA students.

In the final episode in season one, Ann and Ben talk about the print ecosystem: collaborative printmaking, print publishing, galleries, art fairs, and the fabulous cast of characters that inhabit the print world.

Ann and Ben discuss the ballet that occurs in the printshop when the team is editioning a print. Everything is planned. Jigs are made. Everyone has their role. When it's running smoothly, it's sublime. Also, it's hard work.

Ann Shafer has a new podcast called The Curator's Choice in which she talks about one object (or set of set of objects) and why she likes it, how she would pitch it, and other behind-the-thinking stuff.

In s1e7, Ann and Ben finally turn to prints and printmaking, and evangelize about how wonderful prints are, why they are different and special, why it takes work to get over the hump of understanding technique to get to content. They discuss how technique can inform meaning, how the translation of an image from one surface to another only adds interest and conceptual rigor, and the ins and outs of multiplicity.

Editions are the topic of this bonus episode. Ann and Ben talk about the ins and outs of editions: definitions, numbering, exceptions, the publisher-artist relationship. It's definitely not simple.

In episode 106, Ann and Ben continue their conversation about the Western canon, the state of museums in the 21st century, and discuss breaking down the systems that are the foundation of the modern museum.

In this bonus episode, Ann and Ben talk about how they got into this art thing in the first place. Seems it helped to have artists in the family.

In s1e5, Ann and Ben talk about the Western art-historical canon and recent, important efforts to redefine it, to break it apart, to destroy it. How can/should museums embrace multiple voices and points of view? What happens to museum collections?

After the debut of the podcast Platemark, the most pressing listener question had to do with the positionality statement. That's where Shafer and Levy introduce themselves by clarifying their gender, sexuality, and race (Shafer: cis-het white woman; Levy: cis-het white man). This bonus episode tackles the issue of positionality as well as the land acknowledgments (Shafer: Baltimore is on the land of the Piscataway Conoy people; Levy: Cleveland is on the ancestral land of the Erie people). There's a lot to unpack and it is uncomfortable. But that's the point.

In s1e4, Ann and Ben continue their conversation about value but turn toward artistic value rather than monetary value. Both Ann and Ben describe their own systems for evaluating a work of art. Ben's system centers on reverse engineering a work and looking at the decisions made at each step. Ann's system is a long and wide-ranging list of questions that get filed into emotional impact and visual impact. All of which is to say, there is no right or wrong way to approach a work of art.

In s1e3, Ann and Ben take a deep dive into value, beginning with market value. How is it established, who decides what the value of a work should be, how value is arrived at, and how it's a totally subjective idea.

In s1e2, Ann is in the hotseat as Ben asks her about her beginnings as a curator from an internship at the Whitney Museum of American Art during college, to graduate school at Williams College, to the prints and drawings department at the National Gallery of Art, and to the prints, drawings, and photographs department at the Baltimore Museum of Art. Ann talks about how it happened, highlights along the way, and how much it meant to her. Interwoven is a love letter to the many students that passed through the BMA's studyroom, the exhibitions that were most meaningful, and the objects she acquired for the BMA's collection.

In series 1 episode 1, Ann and Ben talk about critiques and studio visits, focusing on a program they developed in partnership with the printmaking department at the Maryland Institute College of Art. At the start of the senior year, Ann and Ben held critiques with MICA printmakers as they embarked on their final theses, which culminate with end-of-the-year exhibitions. Following those initial visits to the seniors' studios, Ann and Ben welcomed students to the Baltimore Museum of Art's print studyroom and pulled out objects from the permanent collection that they deemed germane to each artists' work. These individual second visits enabled further conversation about the direction of the seniors' thesis work and helped (we hoped) to energize them about new ideas and risks. Lastly, Ann and Ben returned to MICA near the end of the year to have a final look at the work produced. This was really for Ann and Ben to see how the work had developed and to evaluate who impactful we had been. This episode also acts as Ben's origin story since he is a studio art graduate of MICA's printmaking department. He brought his technical know-how to the BMA's department of prints, drawings, and photographs in an invaluable way.

In the first, short episode, Ann and Ben introduce listeners to Platemark Season One. Over eight episodes they discuss all manner of topics relating to museums and curators, critiques and studio visits, market value and conceptual value, redefining the Western art historical canon and decolonization, and prints and printmaking. The main goal of the podcast is to demystify the role of the curator and the museum, and to sing the praises of prints and printmaking.