Talks & Conversations

Wood Work: The Parasole Woodblock Carvers in Early Modern Rome

Center Research Talk

Leonardo Parasole, Bosso, from Herbario Nuovo di Castor Durante, Rome: 1585, G. Tornieri & G. Bericchia

Flagship publications of the most powerful new institutions in early modern Rome used woodcut book illustration to persuade readers, communicate important information, and animate religious narratives.

Leonardo (d. 1612) and Girolama Parasole (d. 1622) carved illustrations for every publication genre of the period, from treatises on botany and antiquity to liturgical texts and how-to manuals. Their work gives us a window into often invisible aspects of making pictures and allows us to see the changing organization of work and family during a transformational period for the arts. 

About the presenter
Evelyn Lincoln is professor emerita of history of art and architecture and Italian studies at Brown University and Kress-Beinecke Professor at the National Gallery’s Center for Advanced Study in the Visual Arts for the 2025–2026 academic year.

Sign language interpreters are available for this program. Please call 202.737.4215 or email [email protected] two weeks in advance for a request. Learn more about our accessibility services.

You may also like

cancelled

An armored man on horseback hands a piece of emerald-green cloth down to the nearly nude man standing next to him in this slightly stylized, vertical painting. Both men have light skin, and they, along with the horse, nearly fill the composition. To our right, the bright white horse stands angled to our right with the front left hoof raised. It has a smoke-gray mane, and wears a black bridle. The man riding the horse has short, copper-blond hair and a long face with a pointed chin. He looks down at the ground with dark eyes under black, arched brows. He has a long, thin nose, and his small lips are closed and framed by the faint suggestion of a mustache. He wears a white ruff pleated into figure-eights over his high-necked armor, which is liberally outlined and decorated with gold against the pewter-colored plates. He grips the voluminous, green cape in one hand and holds a sword in the other, down by the leg we can see. The cleanshaven man next to him, to our left, looks off to our right in profile. He has close-cropped, dark hair and smooth skin. His lips are parted, and he tips his head slightly away from us. He holds the green cloth with the hand closer to the horse and gestures down with his other pointer finger, in front of his hip. A white cloth bandage is wrapped around one shin, and he rests his weight on the other leg. The horse and man stand on a curving spit of brown earth. A spring-green landscape dips down behind them, running low near the bottom edge of the painting. The horizon comes about a quarter of the way up the composition, and fog-gray and white clouds create thin screens across the topaz-blue sky. The loose brushstrokes are visible in some areas, especially in the landscape and clothing. The artist signed his name in Greek near the lower right corner.

Talks & Conversations:  Finding Awe: El Greco’s Saint Martin and the Beggar 

Registration Required

cancelled

An armored man on horseback hands a piece of emerald-green cloth down to the nearly nude man standing next to him in this slightly stylized, vertical painting. Both men have light skin, and they, along with the horse, nearly fill the composition. To our right, the bright white horse stands angled to our right with the front left hoof raised. It has a smoke-gray mane, and wears a black bridle. The man riding the horse has short, copper-blond hair and a long face with a pointed chin. He looks down at the ground with dark eyes under black, arched brows. He has a long, thin nose, and his small lips are closed and framed by the faint suggestion of a mustache. He wears a white ruff pleated into figure-eights over his high-necked armor, which is liberally outlined and decorated with gold against the pewter-colored plates. He grips the voluminous, green cape in one hand and holds a sword in the other, down by the leg we can see. The cleanshaven man next to him, to our left, looks off to our right in profile. He has close-cropped, dark hair and smooth skin. His lips are parted, and he tips his head slightly away from us. He holds the green cloth with the hand closer to the horse and gestures down with his other pointer finger, in front of his hip. A white cloth bandage is wrapped around one shin, and he rests his weight on the other leg. The horse and man stand on a curving spit of brown earth. A spring-green landscape dips down behind them, running low near the bottom edge of the painting. The horizon comes about a quarter of the way up the composition, and fog-gray and white clouds create thin screens across the topaz-blue sky. The loose brushstrokes are visible in some areas, especially in the landscape and clothing. The artist signed his name in Greek near the lower right corner.

Talks & Conversations:  Finding Awe: El Greco’s Saint Martin and the Beggar 

Registration Required

cancelled

Talks & Conversations:  Artist Talk: Marlene Gilson and Alick Tipoti

Registration Required