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Engraving

Engraving in the modern sense refers to a type of printmaking, where an image is carved into a plate, ink is rubbed into the image, and transferred to paper. This form of engraving was developed simultaneously in Germany and northern Italy during the 15th century, with the earliest examples attributed to two German craftsman known only as Master E.S., and the Master of the Playing Cards. But engraving as a practice is much older, dating back to the common practice in ancient cultures of creating cylinder seals, small cylindrical stones with an image engraved on their surface such that rolling it across wet clay would leave a relief of the carved image behind. 

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Christ Carrying the Cross

Martin Schongauer, 1475

Saint Anthony Tormented by Demons

Martin Schongauer, 1475

The Lion of Saint Mark

Martin Schongauer, 1490

Ornament with Owl Mocked by Day Birds

Martin Schongauer, 1491

A Foolish Virgin in Half-Figure

Martin Schongauer, 1491

Griffin

Martin Schongauer, 1491

The Censer

Martin Schongauer, 1492

Saint Jerome Penitent in the Wilderness

Albrecht Dürer, 1496

Adam and Eve

Albrecht Dürer, 1504

Melencolia I

Albrecht Dürer, 1514

The Raising of Lazarus

Rembrandt van Rijn, 1632

Descent from the Cross

Rembrandt van Rijn, 1633

The Good Samaritan

Rembrandt van Rijn, 1633

The Angel Appearing to the Shepherds

Rembrandt van Rijn, 1634

The Hundred Guilder Print

Rembrandt van Rijn, 1649

Harmonia Macrocosmica Plate 8 — The Planisphere of Aratus

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 19 — Phases of the Moon

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 9 — Brahe’s Altitudes of the Planets

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 20 — Mars, Jupiter & Saturn

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 10 — The Sizes of the Celestial Bodies

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 21 — Venus and Mercury

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 11 — The Location of the Earth

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 22 — First Hemisphere

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 1 — The Planisphere of Ptolemy

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 12 — Upright and Oblique Spheres

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 23 — Second Hemisphere

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 2 — Ptolemaic Cosmography

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 13 — Hemisphere of the Old World

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 24 — Northern Stellar Hemisphere

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 3 — Planetary Orbits

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 14 — Ptolemaic Planetary Motions

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 25 — Celestial and Terrestrial Hemispheres

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 4 — The Copernicus Planisphere

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 15 — Opposition and Conjunction of the Planets

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 26 — Northern Stellar Hemisphere

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 5 — The Copernican World System

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 16 — Sun in Eccentric Orbit

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 27 — Southern Stellar Hemisphere

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 6 — The Tycho Brahe Planisphere

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 17 — The Revolution of the Sun around the Earth

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 28 — Southern Hemisphere

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 7 — Brahe's Construction of the World

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 18 — The motion of the Moon

Andreas Cellarius, 1660

Harmonia Macrocosmica Plate 29 — Southern Stellar and Terrestrial Hemisphere

Andreas Cellarius, 1660

Floral Wreath with Insects

Maria Sibylla Merian, 1700

A Harlot's Progress Plate 1

William Hogarth, 1732

Architecture, Perspectives, Grotesques, Antiquities

Giovanni Battista Piranesi, 1749

The Grand Piazza

Giovanni Battista Piranesi, 1750

Analysis of Beauty: Plate 1

William Hogarth, 1753

Analysis of Beauty: Plate 2

William Hogarth, 1753

More Art Mediums

The stone that glows like human skin

Marble

The quickest way to make a mark

Charcoal

Watercolor

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