Laser Cutter File Guidelines
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Understanding the Past Through 18Th Century Prints Laura Pass Barry April 7, 2010
A Picture is Worth a Thousand Words: Understanding the Past through 18th Century Prints Laura Pass Barry April 7, 2010 Associate Curator of Prints, Maps, and Paintings at Colonial Williamsburg Foundation. s a print curator, I naturally use period graphics to help me to better understand the past.1 Prints A offer the visual detail to record color and pattern, context, and use of objects—information that can’t be found in other documents from the period. In the eighteenth century, prints were more than decorative hangings; they offered insight into fashion, consumer trends, social customs, and taste. In a time before photography, television, and the internet, engravings were the primary source for reproducing and distributing visual information, giving viewers access to people, places, and things from near and far as well as to contemporary and historical events only read about or imagined. Today, engravings complement written records such as probate inventories. Inventories provide insight into a property owner’s taste and document what household goods (such as furniture, textiles, paintings, ceramics and metals) were owned. But while they contain useful and detailed information about the size, type, and material of an object, they fail to include descriptions that tell us how and where to use these personal possessions. In the instance of this late eighteenth-century print (fig. 1), the inventory excluded the wallpaper and carpet, arguably the most elaborate furnishings in the room.2 Fig. 1 The Lover’s Disguise, published by Carington Bowles, London, 1792, black-and-white mezzotint engraving with period hand color. 108| Juniata Voices Because of this, we rely on prints to provide us with a visual link to our material past. -
On Domesticity • Cézanne, Wallpaper and Painting • Edward
US $25 The Global Journal of Prints and Ideas September – October 2014 Volume 4, Number 3 On Domesticity • Cézanne, Wallpaper and Painting • Edward Bawden in 1949 • Paper Dresses • Jim Dine • Jasper Johns Lyonel Feininger • Chiaroscuro Woodcuts • Wall Works • Louise Lawler • Beyond Tamarind • Prix de Print • News if The International Art Fair November 5 – 9 for Fine Prints and Editions Park Avenue Armory pda Old Master to Contemporary New York Plan Your Visit www.printfair.com EXHIBITORS Aaron Galleries | Glenview, IL Marlborough Graphics | New York Brooke Alexander, Inc. | New York, NY Mixografía® | Los Angeles, CA print Allinson Gallery, Inc. | Storrs, CT Frederick Mulder | London, United Kingdom Arion Press | San Francisco, CA Neptune Fine Art | Washington, DC Armstrong Fine Art | Chicago, IL Carolina Nitsch | New York, NY Ars Libri Ltd. | Boston, MA The Old Print Shop, Inc. | New York, NY The Art of Japan | Medina, WA Osborne Samuel Ltd. | London, United Kingdom Emanuel von Baeyer | London, United Kingdom Pace Prints | New York, NY James A. Bergquist | Newton Centre, MA Paragon | London, United Kingdom Joel R. Bergquist Fine Art | Palo Alto, CA Paramour Fine Arts | Franklin, MI C. G. Boerner | New York, NY Paul Stolper Gallery | London, United Kingdom Galerie Boisserée | Cologne, Germany Paulson Bott Press | Berkeley, CA Niels Borch Jensen Editions | Copenhagen, Denmark Polígrafa Obra Gráfi ca | Barcelona, Spain fair Catherine E. Burns | Oakland, CA Pratt Contemporary / Pratt Editions | Kent, United Kingdom William P. Carl Fine Prints | Durham, NC Paul Prouté | Paris, France Childs Gallery | Boston, MA Redfern Gallery Ltd. | London, United Kingdom Alan Cristea Gallery | London, United Kingdom Helmut H. Rumbler Kunsthandel | Frankfurt, Germany Crown Point Press | San Francisco, CA Mary Ryan Gallery | New York, NY Dolan/Maxwell | Philadelphia, PA Scholten Japanese Art | New York, NY Durham Press, Inc. -
Graphic Versus Photographic in the Nineteenth-Century Reproduction Trevor Fawcett
GRAPHIC VERSUS PHOTOGRAPHIC IN THE NINETEENTH-CENTURY REPRODUCTION TREVOR FAWCETT I THE REPRODUCTIVE PRINT UP TO 1840 Good prints are no doubt better than bad pictures; or prints, generally speaking, are better than pictures; for we have more prints ofgood pictures than of bad ones; yet they are for the most part but hints, loose memorandums, outlines in little ofwhat the painter has done. How often, in turning over a number of choice engravings, do we tantalize ourselves by thinking 'what a head that must be', - in wondering what colour a piece of drapery is, green or black, - in wishing, in vain, to know the exact tone of the sky in a particular corner of the picture! Throw open the folding-doors ofa fine Collection and you see all you have desired realised at a blow- the bright originals starting up in their own proper shape, clad with flesh and blood, and teeming with the first conceptions of the painter's mind! So William Hazlitt, musing on reproductions and going on to console himself with the thought that at least their inadequacy made 'the sight of a fine original picture an event so much the more memorable, and the impression so much the deeper. A visit to a genuine Collection is like going a pilgrimage.'! Yet reproductive prints were indispensable. People had to rely on them. The masterpieces of Western painting were scattered through Europe or hidden away in private galleries. Even the assiduous grand tourist saw only a fraction and that relatively briefly. A heavy responsibility was placed on their printed simulacra to represent them justly. -
Prints and Books
Aus dem Kunstantiquariat: prints and books c.g. boerner in collaboration with harris schrank fine prints Martin Schongauer ca. 1450 Colmar – Breisach 1491 1. Querfüllung auf hellem Grund – Horizontal Ornament mid-1470s engraving; 57 x 73 mm (2 ¼ x 2 ⅞ inches) Bartsch 116; Lehrs and Hollstein 107 provenance Jean Masson, Amiens and Paris (not stamped, cf. Lugt 1494a); his sale Gilhofer & Ranschburg, Lucerne (in collaboration with L. Godefroy and L. Huteau, Paris), November 16–17, 1926 Carl and Rose Hirschler, née Dreyfus, Haarlem (Lugt 633a), acquired from Gilhofer & Ranschburg in May 1928; thence by descent exhibition B.L.D. Ihle and J.C. Ebbinge Wubben, Prentkunst van Martin Schongauer, Albrecht Dürer, Israhel van Meckenem. Uit eene particuliere verzameling, exhibition catalogue, Museum Boijmans, Rotterdam, 1955, p. 10, no. 8 literature Harmut Krohm and Jan Nicolaisen, Martin Schongauer. Druckgraphik im Berliner Kupferstichkabi- nett, exhibition catalogue, Berlin 1991, no. 32 Tilman Falk and Thomas Hirthe, Martin Schongauer. Das Kupferstichwerk, exhibition catalogue, Staatliche Graphische Sammlung München, 1991, no. 107 Lehrs lists six impressions and Hollstein no more than eight, to which this one has to be added. Richard Field’s Census for the American collections lists only one impression in the Cooper- Hewitt Museum in New York. This is the smallest of Schongauer’s ornament prints. While the background remains white, the sophisticated shading makes the leaf appear to move back and forth within a shallow relief. Schongauer’s ornament prints can be divided into Blattornamente (leaf ornaments that show a large single leaf against a plain background, Lehrs 111–114) and Querfüllungen (oblong panel ornaments, Lehrs 107–110). -
The Wonders of Engraving
) THE WONDERS OF ENGEAVING. BY GEORGES DUPLESSIS. ILLUSTRATED WITFI TIIIKTY-FOUB WOOD-ENGBAVING8. NEW YOKE: CHARLES SCRIBN^ER & CO, 1871. illustrated library of Wonders. PUBLISHED BT , (parks 654 BROADWAY, NEW YOEK. Bach one volume 12mo. Price per volume, 11.50. Titles of Books. No. of Illustrations THUNDER AND LIOHTNINO, .... 39 WONDERS OP OPTICS, . 70 WONDERS OF HEAT, ..... 90 INTELLIGENCE OP ANIMALS, . 54 GBEAT HUNTS, ...... 22 EGTPT 3,300 YKARS AGO, . 40 WONDERS OP POMPEII, .... 28 THE SUN, BT A. GUILLEMIN, . 63 SUBLIME IN NATURE, ..... SO WONDERS OP GLASS-MAKING, . 63 WONDERS OP ITALIAN ART, .... 28 WONDERS OP THE HUMAN BODY, 46 WONDERS OP ARCHITECTURE, LIGHTHOUSES AND LIGHTSHIPS, 60 BOTTOM OP THE OCEAN, 68 WONDERS OP BODILY STRENGTH AND HKILL, 70 WONDERFUL BALLOON ASCENTS, 30 ACOUSTICS. ..... 114 WONDERS OP THE HEAVENS, . 48 THE MOON, BY A. GUILLKMIN, 60 WONDERS OP SCULPTURE .... 61 WONDERS OP ENGRAVING, 32 WONDERS OP VEGETATION, .... 45 WONDERS OP THE INVISIBLE WORLD, 97 CELEBRATED ESCAPES, .... 26 WATER, ...... 77 HYDRAULICS, .... 40 ELECTRICITY, ..... 71 SUBTERRANEAN WORLD, .... 27 * In Press for early Publication. The above works sent to any address, post-paid, upon receipt of the price 6j> the publishers. CONTENTS. CHAPTER L PAGB THE ORIGIN OF ENGRAVING 9 CHAPTER H. ENGRAVING IN ITALY. Engravers on Wood Nielli Copperplate Engraving at Florence, in the Northern Cities, at Milan, Parma, Bologna, and Rome 13 CHAPTER HI. ENGRAVING IN SPAIN. Giuseppe Ribera and Francesco Goya 83 CHAPTER IV. ENGRAVING IN THE Low COUNTRIES. Engravers on Wood in the loth Century Early Engravers on Metal Holland : Rem- brandt, Ruysdael, and Paul Potter Belgium : Rubens, Bols- wert, Paul Pontius, and Anthony Vandyck 88 CHAPTER V. -
Sir Anthony Van Dyck
In focus: Sir Anthony van Dyck A learning resource featuring works from the National Portrait Gallery Collection, one of a series focusing on particular artists whose practice has changed the way we think about the art of portraiture and who have in turn influenced others. Page 2 of 16 National Portrait Gallery In focus: Sir Anthony van Dyck Introduction It can be useful to look at developments in portrait painting through the lens of a single, significant artist, appreciating their techniques and innovations, the way that they have been influenced by the advances of others and how in making their contribution they in turn influenced others. This resource focuses on a limited number of paintings and details taken from them. It includes questions about the practice and historical context of the artist, with suggested lines of enquiry and ideas for classroom activity, plus links for further research. The aim is to support teachers in encouraging students to investigate the artist and their practice in-depth. The narrow focus on a selection of portraits by Sir Anthony van Dyck (1599–1641) enables a concentrated view exploring qualities of his unique autograph style. This resource coincides with the acquisition of his self-portrait for the nation by the National Portrait Gallery and the major three-year national tour celebrating the acquisition. Van Dyck: A Masterpiece for Everyone gives visitors in Margate, Manchester, Birmingham, Newcastle, Edinburgh and London the chance to see the portrait and appreciate this important work in the context of British history and art. The portraits reproduced cover four important areas of portraiture; the self- portrait, the three-quarter portrait, a full-length portrait (that includes an invented exterior setting with symbolic attributes) and child portraiture. -
Picture Printing: Books, Art, and the Art of Reproduction in Nineteenth-Century England
Humphries / Picture Printing Picture Printing: Books, Art, and the Art of Reproduction in Nineteenth-Century England Chelsea Humphries Abstract Books that reproduced artwork in the nineteenth century showcase the technological and aesthetic developments in printing that both enabled the growth of Victorian visual culture and represented that visual culture's shifting relationship with art. As books began to reproduce art by increasingly mechanized means, they simultaneously made art more accessible for the masses and harder to defne and create. Were the reproductions of art art in themselves? By investigating the evolution of printing technologies linked to wood engraving, lithography, and photomechanical reproductive methods, and exploring the resulting spread of reproduced and reproductive art in books, we can see the tensions between art and mass printing at play. Contemporary responses to these media suggest a complicated relationship between art and artists, printing and printers, and the viewing public, anticipating the criticism of Walter Benjamin in his twentieth-century essay, “The Work of Art in the Age of Mechanical Reproduction.” Keywords print illustration, reproduction, art, wood engraving, lithography, photomechanical repro- duction, book history, nineteenth century. iJournal - Journal Vol. 4 No. 2, Spring 2019 23 Humphries / Picture Printing In his essay, “The Work of Art in the Age of Mechanical Reproduction,” Walter Benjamin (1936/2010) writes that “what withers in the age of the technological reproducibility of the work of art is the latter’s aura” (p. 14). This “aura” is the trace of the artwork’s originality, an intangible quality described by Eva Geulen (2002) as “visible only to the extent that art has lost this character. -
The Great Age of English Mezzotints (January 19–March 14, 2010), Curated by T
“Th e Artful Disposition of Shades”: Th e Great Age of English Mezzotints 1 hood museum of ar . darmouh college INTRODUCTION amson Occom’s (1723–1792) fundraising trip to England, Ireland, and Scotland from 1766 to 1768 relied heavily on the power of the press to promote his mission. Newspa- pers reported on his sermons and travels, a published brochure described the goals of the campaign, and a printed portrait highlighted his celebrity (fig. 1). The image por- trayed the sitter’s erudition and exoticism in the most popular medium available at Sthat time: mezzotint. It was also one of the earliest prints to be collected at Dartmouth College. Immediately after Occom arrived in London along with Nathaniel Whitaker (1732–1795) in early 1766 to raise money “to support the Rev. Mr. Wheelock’s school at Lebanon in New England” (London Evening Post, 1 May 1766, p. 1), they published a sixty-four-page booklet entitled A Brief Narrative of the Indian Charity School. It outlined their goal of “building and endowing an Indian academy for clothing, boarding, maintaining, and educating such Indians as are designed for missionaries and schoolmasters, and for maintaining those who are, or here- after shall be, employed on this glorious errand.” It also included numerous testimonials from leading American ministers and statesmen. A second edition with new letters of recommenda- tion came out the following year. Copies were widely circulated in the British Isles during the travelers’ two-year venture in order to publicize their background and objectives. Moreover, the centerpiece of the promotional drive was the “Reverend Mr. -
Engraving and Etching; a Handbook for The
CORNELL UNIVERSITY LIBRARY GIFT OF Geoffrey Steele FINE ARTS Cornell University Library NE 430.L76 1907 Engraving and etching; a handbook for the 3 1924 020 520 668 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020520668 ENGRAVING AND ETCHING ENGRAVING AND ETCHING A HANDBOOK FOR THE USE OF STUDENTS AND PRINT COLLECTORS BY DR. FR. LIPPMANN LATE KEEPER OF THE PRINT ROOM IN THE ROYAL MUSEUM, BERLIN TRANSLATED FROM THE THIRD GERMAN EDITION REVISED BY DR. MAX LEHRS BY MARTIN HARDIE NATIONAL ART LIBRARY, VICTORIA AND ALBERT MUSEUM WITH 131 ILLUSTRATIONS ^ „ ' Us NEW YORK: CHARLES SCRIBNER'S SONS^;.,j^, 153—157 FIFTH AVENUE 1907 S|0 PRINTED BY HAZELL, WATSON AND VINEY, LD. LONDON AND AYLESBURY, ENGLAND. PREFACE TO THE FIRST EDITION '' I ^HE following history of the art of engraving closes -*• approximately with the beginning of the nine- teenth century. The more recent developments of the art have not been included, for the advent of steel- engraving, of lithography, and of modern mechanical processes has caused so wide a revolution in the repro- ductive arts that nineteenth-century engraving appears to require a separate history of its own and an entirely different treatment. The illustrations are all made to the exact size of the originals, though in some cases a detail only of the original is reproduced. PREFACE TO THE THIRD EDITION FRIEDRICH LIPPMANN died on October 2nd, to 1903, and it fell to me, as his successor in office, undertake a fresh revision of the handbook in preparation for a third edition. -
Albrecht Drer, His Engravings and Woodcuts
^mi^c^S^'ilB^--—- '^ertryntaami GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND Mb2cci)t ©iirer £ontcrfc>t iin fciiicmalttcr PORTRAIT OF ALBRECHT DURER Woodcut of the School of Diirer. B. 156 /I / / — Art Library ALBRECHT DURER Second son of Albrecht DUrer, goldsmith (d. 1502), "V^VVC-~5^«— and Barbara Helper; born at Nuremberg, May 21, vU^ \ 'O liis 1471 ; pupil of father and of the painter Michel Wolgemut, 1486-1489 ; travelled 1490-1494, visiting Colmar, Basle, and probably Strasburg ; returned to Nuremberg in May, and married Agnes Frey, July 1494 ; visited Venice, probably towards the end of the same year, being at in paid a home again 1495 ; second visit to Venice 1 505-1507; except for a journey to the Netherlands, 1 520-1 521, remained at Nuremberg for the rest of his life ; died April 6, 1528. LIKE most of his predecessors in engraving, Diirer was brought up as a goldsmith, and it was this tradition which did most in directing the channel and shaping the character of his art. He turned to painting quite early, and Germany has produced no greater painter, but it is as an engraver and designer for woodcut that he holds the really unique place in art. His contemporary, Hans Holbein the younger, was unquestionably the greater painter, but Holbein's work for engraving (the Old Testament Illustrations and the Dance of Death^ which will be completely illustrated in another volume of this series) cannot, in spite of its unique style and charm, compare with Dilrer's for greatness of design and conception. -
GLOSSARY of Printmaking Terms
GLOSSARY of Printmaking Terms A Anastatic A relief-etching method, the opposite to the normal which is intaglio. The picture that is to be printed is painted or drawn with a pen directly on to the plate using an asphalt varnish; the result being that when the plate is put in an acid or mordant bath all the areas to be white or unprinted are etched away. William Blake used the manner for text and illustrations in his books. Aquatint An etching method that uses areas of tone rather than lines and cross-hatching. The plate is grounded with either powdered asphaltum or resin. The plate is then heated; this causes the powder to melt and separate into thousands of tiny specks. The control of tonal areas in between dips in the acid bath is done by brushing on stopping-out varnish. Artist's proof One of the proofs (or prints) in a limited edition of original prints. These would all be signed and bear a number such as, 7/32; this would mean it was the seventh pull of an edition of 32. B Baren A smooth, flat pad with a handle that is used for hand-proofing wood-blocks. Closely associated with the Japanese printmakers. Baxter print A method of printing using oil-colors developed by George Baxter (1804-67). Among his best works are, a copy of "The Descent from the Cross" by Rubens and "The Opening of the First Parliament of Queen Victoria", for the latter he was awarded the Austrian gold medal. Blind printing Placing damp paper over an un-inked plate or block to achieve an embossed image. -
Indian Printed Portraitures: Historical Background of Wood and Metal
European Journal of Molecular & Clinical Medicine ISSN 2515-8260 Volume 07, Issue 07, 2020 Indian Printed Portraitures: Historical Background Of Wood And Metal Engravings From Medieval To Colonial Phase Prasad Kumar Swain1, Department of Humanities, Lovely Professional University, India (Contact - +91-9979977108, [email protected]) Dr. Rohita Sharma 1*, Department of Humanities, Lovely Professional University, India (Contact - +91-9877447539, *[email protected]) Abstract: In this research paper, the researcher wants to examine the artistic portraiture visual language in Early Indian Graphic Arts, which were less documented in earlier medieval Period. The investigator, being a teacher is associated with the printmaking and graphic arts, is aware of circumstances in which artists of successive periods have struggled for the sociological and formal problems in innovation and print portrait making. This Research Paper is a survey of the history of manual intaglio, copper engravings, brass engravings, relief, metal engravings, other printing processes and trends of engraving, etching and plate printing techniques in India. For his exploration he is using the expertise of William Daniel and other innovators in the history of Indian Printmaking. The main objective is to present a concise history of printmaking from medieval period up to 1798. when the Britishers were almost in control over our sovereignty. modern, as well as a comprehensive overview of developments in the material aspects of intaglio and other printmaking from its origin. In the early 15th century Both innovations were observed in the light of the continuity between the intaglio printing method, i.e. its materials and methods of production in relation to its' form.