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The Department of Prints and Drawings in the British Museum holds one of the world's greatest collections of prints, consisting of more than two million items. This book studies the history of the British Museum's collection of prints and drawings from the founding of the Museum in 1753. Ten essays describe the principal gifts, bequests and purchases that now form the core of the Museum's holding and nine appendices with unpublished documents taken from the Museum's archives are included. The book is illustrated with 100 examples of the finest prints from the collections described in the essays.
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Metropolitan Museum curators William M. Ivins and his protege A. Hyatt Mayor not only assembled a vast collection of prints, from Renaissance masterworks to ephemeral works, but also expanded the appreciation of prints as aesthetic objects, socio-historical documents, and tools of communication. More radically, by discussing these prints in accessible language, they changed our notions of how art reaches the wider public. Drawing on previously unpublished material, including personal letters and departmental records, this is the first comprehensive exploration of the lives, careers, theories, and influence of Ivins and Mayor. Also included are 120 exceptional prints that represent the breadth and depth of their acquisitions, including works by Durer, Rembrandt, Callot, Goya, Whistler, Cassatt, and Toulouse-Lautrec.
(source: Nielsen Book Data)

• Contents List of Figures Preface Notes on Contributors Abbreviations
• 1 Toward an Anthropology of Print Edward Wouk
• 2 From Print to Paint and Back Again: Painting Practices and Print Culture in Early Modern Antwerp Alexandra Onuf
• 3 Prints as Paintings: Willem van de Velde the Elder (1611-1693) and Dutch Pen Painting circa 1650-65 Lelia Packer
• 4 Between Paper and Sword: Daniel Hopfer and the Translation of Etching in Reformation Augsburg Freyda Spira
• 5 Hunting Erotica: Print Culture and a Seventeenth-Century Rifle in the Collection of the Hessisches Landesmuseum, Darmstadt Jonathan Tavares
• 6 Mantegna's Battle of the Sea Gods: the Material and Thematic Interaction of Print and Sculpture Patricia Simons
• 7 Making Time and Space: Collecting Early Modern Printed Instruments Suzanne Karr Schmidt
• 8 The State of the Fashion Plate, circa
• 1727: Historicizing Fashion Between 'Dressed Prints' and Dezallier's Recueils David Pullins
• 9 The Concettismo of Triumph: Maerten van Heemskerck's Victories of Charles V and Remembering Spanish Omnipotence in a late Sixteenth-Century Writing Cabinet Arthur J. DiFuria
• 10 St. Michael the Archangel: Spiritual, Visual and Material Translations from Antwerp to Lima Stephanie Porras
• 11 Lines of Perception: European Prints and the Mughal Kitabkhana Yael Rice Bibliography Index.
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Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original 'meanings' may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna's 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium - a painting, sculpture, or drawing - to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.
(source: Nielsen Book Data)

A fully-illustrated instructional printmaking book presenting step-by-step examples alongside representative works from thirty top contemporary printmaking artists. Printmaking is flourishing in the digital age, appealing to both "traditional" artists as well as those interested in graphic design and digital technique. This all-in-one guide to printmaking techniques is a complete technical and inspirational book on the history and contemporary processes for relief, intaglio, lithography, serigraphy, mixed media/transfers and post digital graphics, with extended profiles of a wide range of contemporary printmakers. Featuring instruction, interviews, example images and philosophy, this beautiful book provides a truly modern look at printmaking today, in all its forms.
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• Introduction Part One Health and Safety Ideas and Inspiration Colour Texture Paper Tools and Equipment Solvents and Chemicals Studio Gallery Part Two Intaglio Relief Collagraph Screenprinting Lithography Monoprinting Computer Programs and Digital Prints Gallery Index Glossary Suppliers List.
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The Printmakers' Bible is a comprehensive guide to all aspects of printmaking, including processes, techniques and mixed-media possibilities. It covers everything you need to know, from traditional methods such as lithography, etching and mezzotint, to new experimental techniques such as digital, photoaluminium plates, collagraphs and CAD/CAM. The book also includes essential information on colour theory, designing and preparing prints, choosing paper, setting up a studio, health and safety, tools, equipment and chemicals, making this a must-have book that every printmaker and print studio should own.
(source: Nielsen Book Data)

In this book, Mark Graver puts the case for non-toxic printmaking and then discusses the various technical factors (both materials and equipment) to consider when etching with acrylic resists, making aquatints, etching in general, using drypoint, engraving, making mezzotints and collagraphs and using photopolymers as well as combining various printmaking techniques. There is also information on various inks and health and safety measures in the printing workshop. All in all, this book contains everything you need to know to clean up your printmaking practice.
(source: Nielsen Book Data)

• Acknowledgements Introduction Critical Mass Diversity - the Artists and their Work
• 52 Artists including: Aiste Morkvenyte (Lithuania)-- Ana Maria Pacheko (UK, born Brazil)-- Anne Heyvaert (Spain, born USA)-- Ardan Ozmenoglu (Turkey)-- Auske Petruliene (Lithuania)-- Bodo Korsig (Germany and USA)-- Brian Jones (Wales, UK)-- David Trujillo (Spain)-- Diane Victor (south Africa)-- Egle Kuckaite (Lithuania)-- Georg Lebzelter (Austria)-- Geraldine Berkemeier (Australia)-- Guntars Sientins (Latvia)-- Helena Horalkova (Czech Republic)-- Igor Benca (Slovakia)-- Jan Davis (Australia)-- Janet Curley Cannon (UK)-- Joan Hall (USA)-- Joanna Pavlopoulou (Greece)-- Klavs Weiss (Denmark)-- Leonie Lane (Australia)-- Lina Rica (Croatia)-- Liz Ingram (Canada)-- Marian Mguire (New Zealand)-- Marina Nunez (Spain)-- Michael Barnes (USA)-- Michael Reed (New Zealand)-- Michael Walker (Portugal/Brazil)-- Mike Wegerer (Austria)-- Mirta Kupferminc (Argentina)-- Moises Yagues (Spain)-- Nathaniel Stern (USA/South Africa)-- Oscar Munoz (Columbia)-- Patricia Olynyk (USA)-- Paul Croft (Wales UK)-- Ruta Spelskyte (Lithuania)-- Sandy Sykes (England UK)-- Shelagh Morgan (Australia)-- Thomas Huck (USA)-- etc... Further Still... Bibliography Index.
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This exciting new book showcases the work of a very diverse selection of 52 artists from 28 countries, against a spectrum of the concerns that inform the role and function of art in the increasingly technological global society. The mediums used by these artists range from new variations on traditional intaglio and relief techniques, to extreme forms of digital techniques, including time-based forms such as film and multi-media presentation. Printmaking continues to evolve as artists develop the traditional techniques and experiment with new techniques and materials. In recent years the boundaries between the once distinct fields of the visual arts have become blurred, and growing numbers of artists now incorporate printmaking techniques within their practice. This book provides a broad-ranging and challenging source of information on the most exciting cutting edge developments in international printmaking, which will be of value to students, professional artists and all those with an interest in the contemporary visual arts.
(source: Nielsen Book Data)