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Etching can seem mysterious and inaccessible, but this practical book guides you through the process to reveal the potential of this distinctive means of creating artists' prints. With clear instructions and visual guides, it explains the many ways that marks are first made on a metal plate before ink is applied and the image transferred onto a sheet of paper. The book goes on to introduce a broad menu of techniques, allowing the visual artist to develop a uniquely personal approach. Topics include the materials and equipment needed to get started, from the simple etching needle and scraper-burnisher to the etching press. Explanations are given for photo-etching, aquatint, as well as related intaglio processes such as drypoint and photopolymer. This new book encourages artists to experiment and try combining techniques to explore their potential, and includes interviews with leading artists explaining their approaches.
In the 1880s, an economic boom in Japan encouraged a renaissance of
traditional color woodblock painting. During this prosperous
period, a well-born painter named Numata Kashu created "A Picture
Book of Birds. "Kashu's three-volume series blended the
contemporary interest in woodblock prints with East Asia's
centuries-old fascination with artistic depictions of birds and
flowers. His colorful books received a lavish production from a
Tokyo printer that went out of business soon afterward, rendering
the volumes instant rarities. Kashu's woodblock prints were so
popular that dealers carved up available books in order to sell the
images individually, making complete versions even harder to
The work of print artist Ohara Koson (1877-1945) mainly consists of prints of birds and flowers, characterised by their peaceful charm. This book about Koson is the first Western publication of his oeuvre of prints and paintings. It provides all known information on the artist's life and work, his teachers and publishers, facsimiles of his signatures and seals and illustrations of an estimated seventy-five percent of his total print output, now kept in the splendid collection of Japanese prints in the Rijksmuseum, Amsterdam. First published in 2001, this new edition features an additional chapter on Koson s oeuvre and designs which have been discovered since the original publication of "Crows, Cranes and Camellias." This title is the definitive reference book for Koson collectors.
For her most recent series, Austrian artist Katharina Anna Loidl has reworked steel engravings of Swiss alpine landscapes, transforming the original nineteenth-century prints with an etching needle and burin. By carefully removing parts of the printer s ink, Loidl also removes portions of the landscapes. In their place, she introduces simple geometric shapes, deliberately lacking in distinguishing architectural detail so that viewers are encouraged to imagine the addition of structures of their choosing apartment blocks, industrial buildings, or sports facilities to the idyllic images. Landscape Engravings brings together fifty of Loidl s alpine landscapes. Vitus Weh;s essay examines the sublime and crystalline character of Loidl s art, and Paolo Bianchi looks at aspects of romanticism as a fund, landscape as a sensation, and the art of repetition. By introducing spatial interventions to the idyllic, perhaps idealized, images, Loidl asks the reader to consider the impact of residential and industrial encroachment on the natural world and the value we ought to place on its preservation. "
`I'm for mechanical art', said Andy Warhol (1928-1987). `When I took up silkscreening, it was to more fully exploit the preconceived image through commercial techniques of multiple reproduction.' Printmaking was a vital artistic practice for Andy Warhol. Prints figure prominently throughout his career from his earliest work as a commercial illustrator in the 1950s, to the collaborative silkscreens made in the Factory during the 1960s and the commissioned portfolios of his final years. In their fascination with popular culture and provocative subverting of the difference between original and copy, Warhol's prints are recognized now as a prescient forerunner of today's hypersophisticated, hyper-saturated and hyper-accelerated visual culture. Andy Warhol Prints, published to accompany a major exhibition at the Portland Art Museum - the largest of its kind ever to be presented - includes approximately 250 of Warhol's prints and ephemera from the collection of Jordan D. Schnitzer, including iconic silkscreen prints of Campbell's soup cans and Marilyn Monroe. Organized chronologically and by series, Andy Warhol Prints establishes the range of Warhol's innovative graphic production as it evolved over the course of four decades, with a particular focus on Warhol's use of different printmaking techniques, beginning with illustrated books and ending with screen printing.
The Flemish artist F. Balthazar Solvyns lived in Calcutta from 1791 to 1803 and produced a remarkable series of etchings portraying the people of Bengal in their life and culture. First published in Calcutta in 1796 and redone for a more elaborate Paris edition, Les Hindous, 1808-12, some 300 etchings, with their accompanying descriptions, provide a rich and detailed ethnographic survey of India of two hundred years ago. With sections on caste occupations, household servants, festivals, religious mendicants, and musical instruments, Solvyns includes a portrayal of the boats of Bengal in 36 etchings.
This full-colour catalogue illustrates and describes over 300 "surimono" (privately published deluxe Japanese prints) belonging to the Graphics Collection of the Museum of Design Zurich, which were recently placed on long-term loan to the Museum Rietberg Zurich. Originally bequeathed to the Museum of Design by the Swiss collector Marino Lusy (1880-1954), the collection includes many rare and previously unpublished examples. Edited by John T. Carpenter, with contributions from a distinguished roster of Edo art and literary specialists, this groundbreaking scholarly publication investigates "surimono" as a hybrid genre combining literature and art. Introductory essays treat issues such as text-image interaction and iconography, poetry and intertextuality, as well as the operation of Kabuki fan clubs and poetry circles in late 18th and early 19th century Japan. Other essays document Lusy's accomplishments as a talented lithographer inspired by East Asian art, and as an astute collector who acquired prints from Parisian auction houses and dealers in the early 20th century. Translations of "kyoka" (31-witty verse) that accompany images are given for over one-hundred highlights of the collection. The volume also includes a comprehensive index of poets with Japanese characters. This publication is not only indispensable to specialists in ukiyo-e, but has much to offer any reader interested in traditional Japanese art and literature.
About the previous edition: "Definitely succeeds as an art book, thanks to the quality of Walker's engravings; and as a collectible for Cohen fans, thanks to how well the artist captures his subject." --Foreword Reviews In Leonard Cohen, master engraver George A. Walker offers new perspectives on the life and artistic accomplishments of a poet and musician who has captivated generations for six decades and whose influence circles the globe still. Arranged chronologically, the engravings depict scenes from Cohen's many and varied creative endeavors, including poetry, novels, singing and songwriting. The book also presents portraits of some of the many famous characters who shared Cohen's life and friendship, from poets Irving Layton and Allan Ginsberg, to musicians Jimi Hendrix and Janis Joplin, and celebrated artist Andy Warhol. Best read to music, Leonard Cohen presents images of Cohen's iconic public persona alongside vivid interpretations of his ever-evolving work. The engravings compose a biographical mosaic that invites readers to contemplate the public perception of Cohen's critical and commercial acclaim. Some scenes are drawn from history, others from Walker's imagination. The images encourage us to search beyond the visual elements and to see in them a poem, a song, a meaningful turn of phrase. They urge us to consider Cohen's life and work through the lens of our own experience. Leonard Cohen was conceived as a celebration of Cohen's eightieth birthday and was first published as a limited edition of eighty copies hand printed at Walker's studio in Toronto. This revised edition has 2 additional engravings.
Vanity Fair was a weekly show of Political, Social and Literary Wares which was cutting-edge and unique. Over time it became the most successful society magazine in the history of English journalism and with its combination of witty epigrams, portrait caricature and colour lithography, it provided a new interest for the English magazine genre. The colour caricatures were not initially used by its founding editor Thomas Gibson Bowles until Issue 13, when he thought a caricature might boost the fortunes of his new magazine. Benjamin Disraeli was the first, followed by his close rival William Gladstone. Vanity Fair stood ready to attack all who threatened the established social structure, controlled by the ruling elites. It was outspoken in its condemnation of the political parties, and during its 46 year existence, politicians were to account for a third of the 2352 caricatures published in the journal from 1869 to 1914. Unlike the rest of Vanity Fair, these caricatures have lived on and prospered, many falling into the hands of private collectors. This particular collection of 'mixed political wares' includes some of the key players and also rans, whose professional dealings, successful or otherwise, did not escape the scrutiny of the prophesising Jehu Junior.
The prolific Utagawa school is one of the most famous lineages of print artists in the history of Japanese woodblock prints. It was founded by Utagawa Toyoharu during the second half of the eighteenth century and remained active in Edo, present-day Tokyo, throughout the nineteenth century. During this period, Utagawa-school artists dominated virtually every genre of ukiyo-e prints, or "pictures of the floating world," including pictures of beautiful women, prints of kabuki actors, warrior prints, erotica, and landscape pictures. Colorful, technically innovative, and sometimes defiant of government regulations, these prints documented for a popular audience the pleasures of urban life, leisure, and travel. The diverse works by Utagawa Kunisada, Utagawa Kuniyoshi, Utagawa Hiroshige, and others reflected the changing social, economic, and political conditions present during the closing century of the Edo period (1615-1868) and early years of the Meiji period (1868-1912). This 232-page groundbreaking catalogue features full-color images of more than 200 prints from the renowned Van Vleck Collection of Japanese Prints at the Chazen Museum of Art, University of Wisconsin-Madison. This collection - a number of which were once part of Frank Lloyd Wright's personal collection of Japanese prints - is particularly noteworthy for its strong holdings of landscape prints including rare designs incorporating western perspective by the school's founder Toyoharu. The book includes explicated entries for each work, artist biographies, and five scholarly essays about Japanese print culture and the Utagawa school.
"The Hundred Poets Compared" is about a 100-print series made by three famous Ukiyo-e artists of the 19th century: Kuniyoshi, Hiroshige, and Kunisada. Each print compares one of the poems from the most-beloved collection of Japanese poetry, "The One Hundred Poets, One Poem Each" ("Hyakunin Isshu"), with a scene from Japanese history or theatre. Begun during the repressive Tenpo Reforms, the series includes many surreptitious portraits of popular actors. Herwig and Mostow explain each episode depicted and its connection to its particular poem, providing a translation of the commentary text on each print and the identification of actors and performances. This work will be welcome to Ukiyo-e collectors and scholars, as well as those interested in Kabuki and Japanese legends.
Each chapter of this stimulating book collects a wide variety of images show the different ways that historical events can be represented. Metal and wood engravings, lithographs, woodcuts, etchings, watercolors, and drawings all reflect changing attitudes towards gender, politics, the family, education, and industrialization. This revised second edition has many new illustrations which further assist the interpretation of popular graphic images from the 18th and 19th centuries. -- .
Erik Desmazieres is acknowledged as a contemporary master of the art of etching. With breathtaking virtuosity, he recreates interiors, cityscapes, landscapes and fantastical compositions from a Piranesian world. Any new work Desmazieres produces is a bibliophile's delight; and this book, the first in which he uses colour, reimagines the arcane world of the cabinet of curiosities: antiquarian collections of the recondite, rare and bizarre, which reminded the viewer of the vanity of earthly life. Patrick Mauries's text is in three parts. The first locates Desmazieres and his work in the long tradition of artist-printmakers; the second surveys the world of 17th-century antiquarianism and its intriguing cast of characters (John Evelyn, John Aubrey and, above all, Thomas Browne, plus many of their continental counterparts); and in the third Mauries examines today's reawakened interest in cabinets of rarities and curiosities, and considers how a phenomenon once considered the preserve of specialists has entered the cultural mainstream.
Chris Orr MBE RA is one of Britain's foremost printmakers. In this definitive book he and Robert Hewison explore his remarkable printmaking career, from his early experiments as a student in the 1960s, when he first discovered how etching could enhance his drawing, to his later innovations in lithography, silkscreen and digital printing, and his ingenious use of long-forgotten processes. Hewison also considers the significant contribution that Orr has made to printmaking as a teacher, first at Cardiff College of Art and then in London at Central St Martins and the Royal College of Art, where he was Professor of Printmaking from 1998 to 2008. Illustrated with over 150 of Orr's theatrical, witty and wilfully allusive prints, this book looks for the first time in depth at the gloriously original output of a ceaseless inventor. The book will also be published in a limited edition containing a specially made print signed by the artist.
This richly illustrated publication reproduces and describes effectively every early modern German colour print held at the British Museum. It is one of the world's most significant collections of these rare milestones of cultural heritage and technology. New photography reveals 150 impressions in jaw-dropping detail, most life-size. Some have never been seen in public or reproduced. It is the first major study of the first wave of German colour printing. It spans medieval printing in the late 1400s through the Renaissance and Reformation of the 1500s. Early Colour Printing features masterpieces by leading figures like Erhard Ratdolt, Lucas Cranach, Hans Baldung Grien, and Hans Burgkmair, as well as unfairly overlooked entrepreneurs and innovators like Erasmus Loy (and his daughter Anna). Their breakthroughs reproduced artworks and simplified astronomical calculations. They created trends in interior design and signalled 'red-letter days'. They helped musicians sight-read and they colour-coded metals for goldsmiths. These diverse new functions and markets might seem unrelated. But they are connected, and they cannot be understood in isolation. From artworks to missals, icons to wallpapers, this book breaks new ground by revealing the fascinating underlying technologies that enabled the production of these colour-printed objects. The many inventions of colour printing in the German-speaking lands began with medieval novel solutions. They were devised long before colour printing inks could be formulated. Then, colour printing techniques transformed how printed material could be used during the technological and cultural revolutions of the sixteenth century. Later designers and artists around Europe celebrated these techniques' heritage for centuries, from the 'Durer Renaissance' until chromolithography revolutionised the print market in the nineteenth century. Early Colour Printing captures this story in rich detail. It sets the stage for second wave of German colour woodcut, which was triggered by the Expressionist revival at the turn of the twentieth century. Thoroughly researched and engagingly written, this collection guide will be a standard reference on German graphic art, early modern visual culture, and the history of printing itself. Early Colour Printing: German Renaissance Woodcuts at the British Museum offers significant new research, including previously unidentified examples of early modern colour-printing. Some are believed to be unique in the world; others were made decades before the landmark invention of colourful chiaroscuro woodcut in Italy in 1516. By modelling a printer- and technology-based approach to the history of printing, it contributes to scholarship by pinpointing attributions to printers-not just to artists or designers. In doing so, it lays the groundwork for a new understanding of the history of print, one that encompasses all forms of printed material. This publication derives from an exhibition at the British Museum curated by Elizabeth Savage.
Thorough, comprehensive handbook covers materials and equipment, tools, printing papers, presses and other essentials. Detailed instructions for etching (hard ground, soft ground, aquatint, sugar lift, etc.), engraving, drypoint, collagraphs, tuilegraphs and the Blake transfer method. Profusely illustrated; also includes bibliography and updated list of suppliers. ..".excellent, step-by-step comprehensive outline...superbly organized..."--AB Bookman's Weekly.
This revised and expanded fourth edition of Andy Warhol Prints: A Catalogue Raisonne 1962-1987, with 1,700 illustrations and full documentation, presents the artist's complete graphic production, from his first unique works on paper in 1962 through his final published portfolio in 1987, including trial proof prints and unpublished prints. The fourth edition contains a new portrait section, featuring images of artists, entertainers, writers and sports figures, among others, with 125 illustrations, one hundred of which were not included in the earlier editions of this catalogue. Another highlight is a 33-page supplement covering the illustrated books and portfolios Warhol created in the 1950s, which documents techniques that reappear, in more developed forms, in his later prints. These innovative works of the 1950s, explored in a new essay by Donna De Salvo, represent the first phase in the process of Warhol's conceptualization of printmaking. Two other perceptive essays analyse Warhol's graphic work from different perspectives. In 'God is in the Details', De Salvo traces the evolution of Warhol's printmaking process from blotted line to silkscreen, revealing how Warhol dissected the
This book is about the production and reception of engravings and metalcuts in the Rhine-Maas region during the second half of the fifteenth century. The Master of the Berlin Passion played a pivotal role in the printmaking industry of the Lower Rhine during this period. He, together with the engravers working in his ambit, specifically targeted their prints at the growing market for illustrated devotional manuscripts, doing so to an extent unparalleled by engravers elsewhere in Europe. As a result, experimental hybrid books combining manuscript and engraving were a phenomenon that flourished particularly in the Rhine-Mass region during the fifteenth century. In the first part the author deals with the production of engravings and metalcuts for the manuscript market, concentrating specifically on the Master of the Berlin Passion and the engravers and metalcutters in his circle. Fresh evidence is considered for their dates, localization and identities, thereby providing the first major re-examination of these printmakers since the 1910s.
This pack contains 500 high-quality origami sheets printed with delicate and cheerful cherry blossom designs. These colorful origami papers were developed to enhance the creative work of origami artists and paper crafters. The pack contains 12 unique designs, and all of the papers are printed with coordinating colors on the reverse to provide aesthetically pleasing combinations in origami models that show both the front and back. There's enough paper here to assemble amazing modular origami sculptures, distribute to students for a class project, or put to a multitude of other creative uses. This origami paper pack includes: 500 sheets of high-quality origami paper 12 unique designs Bright, vibrant colors Double-sided color 4 x 4 inch (10 cm) squares
Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Durer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from-and contributed to-the contemporary understanding of witchcraft as a heresy that stemmed from natural 'feminine defect,' a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung's iconic witchcraft imagery, this book is essential reading for historians of art, culture and gender relations in the late medieval and early modern periods.
Screenprinting is essentially a stencil method of printing, but is has vast potential. This beautiful book explains the techniques behind the art and introduces ideas to explore its exciting and versatile qualities. Packed with step-by-step sequences and practical advice, it not only explains the process but inspires designers and makers to experiment with the creative potential of this striking art form. It introduces the basic technical aspects of printing on fabric, as well as the equipment and materials. Ideas for designing and developing different types of motifs, images, patterns and repeats are given and how to combine the different elements together. It covers effective low-tech methods that exploit physical skills and simple tools, as well as contemporary printed textile practice with digital input and sophisticated technologies. Advice on the use of colour is given as well as dye recipes and the instructions for their use on fabric. Methods are included such as cross dyeing, crimping and mark making on fabric, which can be used in conjunction with screenprinting. Drawing on the author's over forty years of experience, it shares her practical tips and ideas for both the traditional processes of screenprinting and the latest techniques that embrace contemporary practice ready for a new textile audience.
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