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These two prints, one by Rembrandt (top) and one by Vignola (bottom), both include an artist, his tools, and a sculpted work. While Vignola's drawing instrument intercepts between the classical sculpture and the draftsman, the hammer and sculpting tools bring the goldsmith and his miniature statue closer together.
Vignola's apparatus, despite occupying a commanding space of its own, ultimately flattens the three-dimensional sculpture into an accurately-measured two-dimensional view. Rembrandt's print creates an emotionally intimate atmosphere through the goldsmith's touch. Tensions exist in both images however. The erotic appeal of the female goddess is not expelled by the intervening instrument; the tenderness of Rembrandt's goldsmith is always disturbed by the suggestion of violence in the hammer.
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