from Elizabeth L. Eisenstein, The Printing Revolution in Early Modern Europe (New York: Cambridge Univ. Press, 1983):

In accounting for the emergence of uniquely distinguished, personally celebrated artists out of the ranks of more anonymous artisans, the preservative powers of print deserve more attention.[. . .] [T]he cult of personality was repeatedly undermined by the conditions of scribal culture and was powerfully reinforced after the advent of printing. The personal histories of even the most celebrated masters could not be recorded until writing materials became relatively abundant. And until records could be duplicated, they were not likely to be preserved intact for very long. (129)

 

from John Berger, "Passeur," New Yorker Magazine 24 (31 December 2001):

Antonello, he says. If I could choose to have my portrait painted by any artist in history, I'd choose him. He painted as though printing words.

Everything he did had that kind of coherence and authority, and it was during his lifetime that the first printing presses were invented. (94)

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