 |
|
|
|
|
|
|
| BIOGRAPHY OF JOHANN WEINMANN |
 |
Johann Weinmann, a prominent apothecary in Regensberg in southern Germany, was responsible for the publication of the “Phytanthoza Iconographia”, which at four volumes and 1,026 plates, is not only one of the largest florilegia ever produced, but is also the first botanical work to contain color-printing mezzotints. Weinmann was one of the first to produce color printing from a single copper plate. Each 13”x 8”x 3/8” engraved plate was carefully and artistically hand inked each time that it was printed and additional hand painting was also added after printing to achieve a vibrant depth of color. The paper used was richly textured handmade laid paper. Weinmann used the mezzotint technique in combination with line engraving. In addition, he had his work printed in color, with details painted in by hand after printing. This method is actually more difficult and more laborious than complete hand-coloring, as the colors must be reapplied to the plate after each pull from the press.
Sonic of the greatest natural history ‘works employed this method, including Thornton’s “Temple of Flora”, Redouté’s “Les Liliacées” and “Les Roses”, and Levaillant’s “Histoire Naturelle des Perroquets”. The plates in the “Phytanthoza Iconographia” beautifully and accurately depict green plant, trees, fruits, flowers, herbs, nuts, and vegetables.
Weinmann employed a number of artists and engravers to complete the project, most notably George Ehret, a distinguished German botanical artist. Ehret, who has been called “a giant among flower painters” (Buchanan), went on to produce a number of great botanical books, and is generally considered to have been the greatest influence on eighteenth-century botanical painters. George Dionysius Ehret is the best know of the artist that Weinmann employed. He is responsible for five hundred of the drawings although none of them were signed. “Phytanthoza Iconographia” is an important botanical work from the height of era of the great Florilegia. The work offers unique and striking plant and flower images as well as fruits and vegetables. Weinmann exploited Ehret mercilessly, paying him a pittance for the several hundred drawings he did for the Phytanthoza. Their collaboration came to an abrupt end – no doubt the reason why the book contains no acknowledgement of Ehret’s work. “Phytanthoza Iconographia” was published in 1736 in Ratisbon, Amsterdam.
|
 |
|
|
|
|
|
