Cornelis Bos  

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-close window x+'''Cornelis [Willem] Bos''' (''c''1506/10 — before 7 May 1555) was a Flemish [[engraver]], printseller and book publisher, through whose images after paintings and reproducing [[ancient Roman sculpture]]s, like the [[Laocoön and His Sons|Laocoön]], classic works were put in the visual repertory of Northern European artists. His work is often signed with the [[monogram]] <small>C-B</small>.
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-The Project . On Ornament . Mission Statements . References+
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-On Ornament+Cornelis was born at [['s-Hertogenbosch|'s Hertogenbosch]], whence his surname ''Bos'' is derived, but on 1 April 1541 he was enregistered as a citizen of [[Antwerp]], where he was therefore already established as a member of the imagemakers' Guild of Saint Luke. His earliest identified engravings (1537) reproduce [[Maarten van Heemskerck]]'s ''Prudence and Justice'' (1537). and a work by [[Agostino Veneziano]]. Until 1544 Bos worked in Antwerp as an engraver, commissioned by publishers in the city's extensive book trade for illustrations in books. His engravings, copied from the published engravings in Italian editions, served as illustrations for a brief summary in Dutch of the treaty on architecture by [[Vitruvius]] and for a Dutch translation of Book IV of [[Sebastiano Serlio]]'s architectural treatise, both published by Pieter Coecke van Aelst. Bos' engravings illustrate a text on anatomy that he produced in 1542 by the printer and publisher Antoine de Goys.
-Definition The Renaissance The Baroque Differentiation Design / Decoration Ornament and Rhetoric+In the summer of 1544 Bos was forced to flee Antwerp for his participation in an [[Donatism|antisacerdotalist]] free-thinking spiritualist sect and was declared exiled by the Council of Brabant in his absence. It appears that he went to [[Paris]], where an anatomical work published by Jérôme de Gourmont in 1545 repeats text used by Cornelis Bos and even makes use of the woodblocks formerly in his possession. A decorative [[patternbook]] also published by [[Jérôme de Gourmont]], ''[[Livre de moresques]]'' was a pirated edition of a work published in Antwerp by Bos, ''c'' published at Paris, 1546; it served designers of [[Mannerism|mannerist scrollwork]] (''bandelwerk'') in the Low Countries. Between 1546 and 1548, from his secure refuge in [[Nuremberg]], Cornelis Bos would publish more than a hundred engraved designs of [[strapwork]] and [[grotesque]]s. Bos also produced popular engravings of religious and allegorical subjects, often dependent for their composition upon the ''Kleinmeister'' of Nuremberg, with many parallels in the output of [[Virgil Solis]].
-Distribution of the Ornaments Pattern Books Prints+
-The Development of Ornament Antiquity as a Model Late Gothic / Early Renaissance High Renaissance Early Baroque High Baroque Late Baroque Classicism / Historicism Ornament and Modernism+
-High Baroque+Bos went to [[Groningen (city)|Groningen]], where he sold paper to the city magistrate 2 December 1548. He was granted citizenship in 1550. His first wife Lijnken [[Dordrecht|van Dort]] or [['s-Hertogenbosch|van den Bos]], with whom he had five children, was deceased by then and he remarried Alijdt, who came from a local family. The couple had two children. A document of 7 Mai 1555 refers to him as deceased. An inventory of his workshop and other possessions, taken 3 August 1544, which included two printing presses, and the auction of his property 3 January 1545, have been mined by historians of [[printmaking]].
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-Baroque Grotesque, Style Bérain+
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-In the French Baroque, grotesque decoration was further developed with regard to perspective by [[Jean Bérain]] I. and influenced what was known as “Laub- und Bandlwerk” (“leaf and scrollwork”), a style of surface decoration that became established in the German-speaking region from 1710 and, especially in the Austrian territories, replaced the acanthus ornament which had been dominant in the 17th century, as well as, for the most part, the basket-weave ornaments of the French Regency period. Ill. 5+
-Abb 5 Ill.5.: Jeremias Wolf+
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-Folio from the Kopien nach Jean Bérain+
-Augsburg, Jeremias Wolf, before 1724+
-Etching 35,2 x 24,8 cm+
-M.A.K. I.N.: D 641+
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-[[Scrollwork]] and [[Strapwork]], Auricular Style+
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-Ornamental styles of the 16th and 17th centuries such as scrollwork and strapwork or the [[auricular style]] cultivated the use of flat relief in decorative motifs. Ill. 6+
-Abb 6 Ill.6.: Virgilius Solis+
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-Ornament with two satyrs with entwined arms in strapwork+
-Germany, 16th century+
-Copperplate engraving & etching 5,6 x 8,4 cm+
-M.A.K. I.N.: K.I. 2487+
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-The first scrollwork-like designs appeared on the [[cartouche]]s of the frescoes of the [[Sala di Constantino]] (1523/1524, Rome, Vatican) by Raphael and Giulio Romano and were disseminated by way of the title pages of ornamental prints and books. Via [[Francesco Primaticcio]] and [[Rosso Fiorentino]], the scrollwork motif spread to France, to the court of François I. In decorating the gallery of the Castle of Fontainebleau for the French king, beginning in 1534, the “School of Fontainebleau” developed the cartouche form into an ornamental system that tended strongly toward the three-dimensional, with extensive use of stucco. In the stucco decorations of the gallery, the motif was given befitting substantiality and, through ornamental print series by [[Jacques Ducerceau]] (1561) and others, was in turn disseminated all over Europe and served as a model for other artists and craftsmen. Ill. 7+
-Abb 7 Ill.7.: Jacques Ducerceau+
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-2 Vignettes with grotesque scrollwork+
-France, 16th century+
-Etching 7,1 x 9,4 cm+
-M.A.K. I.N.: D 584+
-zoom in+
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-As early as 1540, scrollwork had verifiably appeared in the Flemish region, where designers and engravers such as [[Cornelis Floris]] or [[Cornelis Bos]] contributed to its development, as did [[Hans Vredeman de Vries]] in his illustrations of the decorations of royal parades and in his “Architectura”. The influential, often copied series of fourteen masks engraved by [[Frans Huys]], based on designs by [[Cornelis Floris]], also belongs to this style of ornament. Here, anthropomorphic faces are created out of leaves, [[volute]]s and sea creatures, comparable to the heads in the paintings of Giuseppe Arcimboldo. Ill. 8+
-Abb 8 Ill.8.: Cornelis Bos+
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-Folios from the Folge grotesker Füllungen mit Wagen+
-Netherlands, 16th century+
-Copperplate engraving 17 x 26,6 cm+
-M.A.K. I.N.: D 908+
-zoom in+
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-Shadow formation, three-dimensional volutes and [[chevron]]s, enriched with fruit [[garland]]s and figures “confined” by the ornament characterize the Mannerist scrollwork ornaments of the Netherlands.+
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-Bernd Evers, Rainald Franz+
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-up up s print print+
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{{GFDL}} {{GFDL}}

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Cornelis [Willem] Bos (c1506/10 — before 7 May 1555) was a Flemish engraver, printseller and book publisher, through whose images after paintings and reproducing ancient Roman sculptures, like the Laocoön, classic works were put in the visual repertory of Northern European artists. His work is often signed with the monogram C-B.

Cornelis was born at 's Hertogenbosch, whence his surname Bos is derived, but on 1 April 1541 he was enregistered as a citizen of Antwerp, where he was therefore already established as a member of the imagemakers' Guild of Saint Luke. His earliest identified engravings (1537) reproduce Maarten van Heemskerck's Prudence and Justice (1537). and a work by Agostino Veneziano. Until 1544 Bos worked in Antwerp as an engraver, commissioned by publishers in the city's extensive book trade for illustrations in books. His engravings, copied from the published engravings in Italian editions, served as illustrations for a brief summary in Dutch of the treaty on architecture by Vitruvius and for a Dutch translation of Book IV of Sebastiano Serlio's architectural treatise, both published by Pieter Coecke van Aelst. Bos' engravings illustrate a text on anatomy that he produced in 1542 by the printer and publisher Antoine de Goys.

In the summer of 1544 Bos was forced to flee Antwerp for his participation in an antisacerdotalist free-thinking spiritualist sect and was declared exiled by the Council of Brabant in his absence. It appears that he went to Paris, where an anatomical work published by Jérôme de Gourmont in 1545 repeats text used by Cornelis Bos and even makes use of the woodblocks formerly in his possession. A decorative patternbook also published by Jérôme de Gourmont, Livre de moresques was a pirated edition of a work published in Antwerp by Bos, c published at Paris, 1546; it served designers of mannerist scrollwork (bandelwerk) in the Low Countries. Between 1546 and 1548, from his secure refuge in Nuremberg, Cornelis Bos would publish more than a hundred engraved designs of strapwork and grotesques. Bos also produced popular engravings of religious and allegorical subjects, often dependent for their composition upon the Kleinmeister of Nuremberg, with many parallels in the output of Virgil Solis.

Bos went to Groningen, where he sold paper to the city magistrate 2 December 1548. He was granted citizenship in 1550. His first wife Lijnken van Dort or van den Bos, with whom he had five children, was deceased by then and he remarried Alijdt, who came from a local family. The couple had two children. A document of 7 Mai 1555 refers to him as deceased. An inventory of his workshop and other possessions, taken 3 August 1544, which included two printing presses, and the auction of his property 3 January 1545, have been mined by historians of printmaking.

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