As gravuras de William Faithorne: o lugar do gravador no mundo impresso inglês do século XVII
Data
2022-05-24
Autores
Hachisu, Michelle Mayumi 
Orientadores
Lima, Luís Filipe Silvério
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
A presente dissertação de mestrado tem por objetivo analisar a trajetória e as
obras de William Faithorne (1620-1691), importante gravador inglês que atuou
desde o reinado de Carlos I até a Revolução Gloriosa. Buscamos estudar o conjunto
de suas obras, localizando suas gravuras no contexto de produção de impressos do
período. A oficina de Faithorne produziu gravuras de variados tipos, muitas tocando
aspectos políticos e religiosos do período em que foram feitas, ao longo de
praticamente quase todo o século XVII. Isso nos permite observá-las como um lugar
privilegiado para a compreensão dos processos de produção e circulação das
gravuras seiscentistas inglesas e os agentes envolvidos nesses processos, a função
das mesmas como protocolos de leitura de livros e panfletos e a relação delas com
as dinâmicas culturais e políticas durante as Guerras Civis, o Protetorado e a
Restauração. Para proceder a interpretação desses variados aspectos e pensá-los
em seu conjunto, para além da análise das gravuras, construímos uma base de
dados contendo 626 gravuras identificadas no acervo do British Museum. Buscamos
seriá-las cronologicamente, desde a primeira gravura publicada em 1640 até a
última em 1691, para compreendermos a produção de gravuras de Faithorne e sua
relação com os eventos políticos e os agentes do mundo impresso inglês do século
XVII. Por meio da análise das fontes, pudemos pensar nas possíveis redes de
relações tecidas por Faithorne ao longo de sua carreira e como ele construiu seu
lugar como gravador.
The main subject of the present master’s thesis is the analysis of the trajectory and works of William Faithorne (1620-1691), a prominent English engraver who worked from Charles I’s reign until the Glorious Revolution. We aimed to to study his engravings locating them in the context of print production in Early Modern England. Throughout almost all of the seventeenth century, Faithorne’s workshop produced various types of engravings, many of them referring to political and religious aspects of the period they were made. This allowed us to observe them as a privileged place for understanding seventeenth-century English engravings’ producing processes and printing circulatione, the agents involved in these processes, the function of the engravings as reading protocols for books and pamphlets, and their relation to cultural and political dynamics during Civil Wars, the Protectorate, and the Restoration. In order to observe these multiple aspects , we built a database to organize 626 engravings identified in the British Museum’s online collection. We ordained them chronologically from the first engraving printed in 1640 to the last in 1691, to help us think about Faithorne’s works as a possible means of understanding the engraving production in England and its relation to seventeenth-century political events and print agents. We argued that by the analysis of his works and trajectory we could identify some of the possible network built by Faithorne during his career and how he managed to establish himself as an engraver.
The main subject of the present master’s thesis is the analysis of the trajectory and works of William Faithorne (1620-1691), a prominent English engraver who worked from Charles I’s reign until the Glorious Revolution. We aimed to to study his engravings locating them in the context of print production in Early Modern England. Throughout almost all of the seventeenth century, Faithorne’s workshop produced various types of engravings, many of them referring to political and religious aspects of the period they were made. This allowed us to observe them as a privileged place for understanding seventeenth-century English engravings’ producing processes and printing circulatione, the agents involved in these processes, the function of the engravings as reading protocols for books and pamphlets, and their relation to cultural and political dynamics during Civil Wars, the Protectorate, and the Restoration. In order to observe these multiple aspects , we built a database to organize 626 engravings identified in the British Museum’s online collection. We ordained them chronologically from the first engraving printed in 1640 to the last in 1691, to help us think about Faithorne’s works as a possible means of understanding the engraving production in England and its relation to seventeenth-century political events and print agents. We argued that by the analysis of his works and trajectory we could identify some of the possible network built by Faithorne during his career and how he managed to establish himself as an engraver.