| Born | 1535 (Mechelen) |
| Died | 1590 (Köln) |
| Nationality | Belgium |
| Epochs | Renaissance |
| Genre | portrait |
| Profession | graphic artist, cartographer, painter, copper engraver, publisher, engraver |
| Family | Sibling: Remigius Hogenberg |
| Notable works | Jerusalem, Lucerna M.CCC.XXXII. Lucern, DECEM ET TRIA LOCA CONFOEDERATORUM HELVETIAE, German troops leaving Antwerp (1579), Portrait of Gerardus Mercator |
| Museums | Staatliche Museen zu Berlin |
Franz Hogenberg, a Flemish copper engraver, etcher and cartographer, was living in the strictly Catholic Free Imperial City of Cologne in 1572 as a Protestant religious refugee. There, together with the theologian Georg Braun, he published the first volume of the “Civitates Orbis Terrarum”, a book of cities that would eventually comprise six volumes and more than 500 city views spanning Europe, Asia, Africa and Latin America. Braun, the soul of the book project, handled its organization, editing and texts; Hogenberg was its principal engraver and co-publisher. In the preface, Braun made his readers a curious promise. Figures in the dress of each country had been placed before every city - partly so that the Turks, whose faith forbade depictions of the human form, could never use these plans for campaigns of conquest. Even the ornamentation of these prints was political.
His origins lay in Mechelen in Flanders, where Franz Hogenberg was born in 1535. His father, the copper engraver Nikolaus Hogenberg, died young; in 1548, his mother married the printer and cartographer Hendrik Terbruggen. The son thus grew up in a household where maps and printing plates were part of everyday life. In 1560, he travelled through France; at the turn of 1562/63, as a religious refugee in Wesel on the Lower Rhine, he signed a Lutheran confession of faith; in 1568, the Spanish authorities under the Duke of Alba banished him from Antwerp, presumably for Protestant sympathies. He subsequently engraved the title page and court portraits in London for an English edition of the Bible commissioned by Archbishop Matthew Parker, including a medallion portrait of Elizabeth I. His brother Remigius, also a copper engraver, remained permanently in England, while Franz settled in Cologne. He shared a lifelong friendship with Abraham Ortelius in Antwerp; from the mid-1560s onward, he engraved maps for Ortelius's “Theatrum Orbis Terrarum”, the first modern atlas. Beginning in 1572, the Civitates was created as its companion work devoted to cities.
Braun's promise was fulfilled print by print. In the “Plan of London from 'Civitates Orbis Terrarum', vol. 1, 1572”, the Thames flows broadly through the image, the bridge is lined with houses, the Tower stands on the riverbank, and in the foreground, on a green rise along the southern bank, four Londoners appear in the dress of their time, as though they had just stepped out of the city. The “Plan of Byzantium, renamed Constantinople (present-day Istanbul)” spreads the Sultan's city between its waterways; in the foreground, a troop of horsemen carrying lances rides past, while medallion portraits of the Ottoman rulers line the lower edge - the very Turks mentioned in Braun's preface. “Palermo, Italy (engraving)” follows the same pattern, with galleys before the harbour and a dense register of churches, monasteries and gates along the bottom of the print. Alongside walls and harbours, the views depict carts, ships and scenes of justice; for Braun and Hogenberg, a city's portrait also encompassed its economic power.
The city views were one half of the workshop's output, the news the other. From 1558 onward, Hogenberg produced the so-called history prints, some 470 engravings and etchings depicting contemporary events - battles, sieges and executions from the French Wars of Religion and the Dutch Revolt, often issued shortly after the events themselves. He is therefore regarded as the earliest major visual reporter of these wars; scholars also understand his prints as a form of visual historiography that itself intervened in the struggle over power, faith and violence. One print from the French Wars of Religion, the “Execution of Amboise conspirators, March 25”, bears its date in the title like a news report: a crowd presses together before the château, spectators stand on the battlements, the condemned hang from the gateway, and on the scaffold the executioner raises his sword to strike. The man who engraved such scenes had himself fled religious conflict. As late as 1589, one year before his death, he published a broadside in Cologne on the execution of Peter Stump, whom his age called the Werewolf of Bedburg.
Cologne never made life easy for him. In 1570, he faced expulsion as a non-Catholic; in 1579, he and his second wife, Agnes Lomar, were arrested for attending secret Reformed services. Nevertheless, he stayed, purchased a house in Glockengasse in 1585 and ran a workshop that became the most important copper-engraving studio in the Rhineland and the centre of a Cologne school of cartography, sustained above all by Dutch religious refugees like himself. Franz Hogenberg died in 1590; he was buried in the Geusenfriedhof, the Protestant cemetery outside the city walls. The workshop continued, first under his widow and then under his son Abraham. The final volume of the Civitates appeared in 1617 - more than a quarter of a century after the death of the exile who had given the cities of Europe their great portrait.
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| Born | 1535 (Mechelen) |
| Died | 1590 (Köln) |
| Nationality | Belgium |
| Epochs | Renaissance |
| Genre | portrait |
| Profession | graphic artist, cartographer, painter, copper engraver, publisher, engraver |
| Family | Sibling: Remigius Hogenberg |
| Notable works | Jerusalem, Lucerna M.CCC.XXXII. Lucern, DECEM ET TRIA LOCA CONFOEDERATORUM HELVETIAE, German troops leaving Antwerp (1579), Portrait of Gerardus Mercator |
| Museums | Staatliche Museen zu Berlin |
Franz Hogenberg, a Flemish copper engraver, etcher and cartographer, was living in the strictly Catholic Free Imperial City of Cologne in 1572 as a Protestant religious refugee. There, together with the theologian Georg Braun, he published the first volume of the “Civitates Orbis Terrarum”, a book of cities that would eventually comprise six volumes and more than 500 city views spanning Europe, Asia, Africa and Latin America. Braun, the soul of the book project, handled its organization, editing and texts; Hogenberg was its principal engraver and co-publisher. In the preface, Braun made his readers a curious promise. Figures in the dress of each country had been placed before every city - partly so that the Turks, whose faith forbade depictions of the human form, could never use these plans for campaigns of conquest. Even the ornamentation of these prints was political.
His origins lay in Mechelen in Flanders, where Franz Hogenberg was born in 1535. His father, the copper engraver Nikolaus Hogenberg, died young; in 1548, his mother married the printer and cartographer Hendrik Terbruggen. The son thus grew up in a household where maps and printing plates were part of everyday life. In 1560, he travelled through France; at the turn of 1562/63, as a religious refugee in Wesel on the Lower Rhine, he signed a Lutheran confession of faith; in 1568, the Spanish authorities under the Duke of Alba banished him from Antwerp, presumably for Protestant sympathies. He subsequently engraved the title page and court portraits in London for an English edition of the Bible commissioned by Archbishop Matthew Parker, including a medallion portrait of Elizabeth I. His brother Remigius, also a copper engraver, remained permanently in England, while Franz settled in Cologne. He shared a lifelong friendship with Abraham Ortelius in Antwerp; from the mid-1560s onward, he engraved maps for Ortelius's “Theatrum Orbis Terrarum”, the first modern atlas. Beginning in 1572, the Civitates was created as its companion work devoted to cities.
Braun's promise was fulfilled print by print. In the “Plan of London from 'Civitates Orbis Terrarum', vol. 1, 1572”, the Thames flows broadly through the image, the bridge is lined with houses, the Tower stands on the riverbank, and in the foreground, on a green rise along the southern bank, four Londoners appear in the dress of their time, as though they had just stepped out of the city. The “Plan of Byzantium, renamed Constantinople (present-day Istanbul)” spreads the Sultan's city between its waterways; in the foreground, a troop of horsemen carrying lances rides past, while medallion portraits of the Ottoman rulers line the lower edge - the very Turks mentioned in Braun's preface. “Palermo, Italy (engraving)” follows the same pattern, with galleys before the harbour and a dense register of churches, monasteries and gates along the bottom of the print. Alongside walls and harbours, the views depict carts, ships and scenes of justice; for Braun and Hogenberg, a city's portrait also encompassed its economic power.
The city views were one half of the workshop's output, the news the other. From 1558 onward, Hogenberg produced the so-called history prints, some 470 engravings and etchings depicting contemporary events - battles, sieges and executions from the French Wars of Religion and the Dutch Revolt, often issued shortly after the events themselves. He is therefore regarded as the earliest major visual reporter of these wars; scholars also understand his prints as a form of visual historiography that itself intervened in the struggle over power, faith and violence. One print from the French Wars of Religion, the “Execution of Amboise conspirators, March 25”, bears its date in the title like a news report: a crowd presses together before the château, spectators stand on the battlements, the condemned hang from the gateway, and on the scaffold the executioner raises his sword to strike. The man who engraved such scenes had himself fled religious conflict. As late as 1589, one year before his death, he published a broadside in Cologne on the execution of Peter Stump, whom his age called the Werewolf of Bedburg.
Cologne never made life easy for him. In 1570, he faced expulsion as a non-Catholic; in 1579, he and his second wife, Agnes Lomar, were arrested for attending secret Reformed services. Nevertheless, he stayed, purchased a house in Glockengasse in 1585 and ran a workshop that became the most important copper-engraving studio in the Rhineland and the centre of a Cologne school of cartography, sustained above all by Dutch religious refugees like himself. Franz Hogenberg died in 1590; he was buried in the Geusenfriedhof, the Protestant cemetery outside the city walls. The workshop continued, first under his widow and then under his son Abraham. The final volume of the Civitates appeared in 1617 - more than a quarter of a century after the death of the exile who had given the cities of Europe their great portrait.