DOCSLIB.ORG

Syllabus: Introduction to Woodcut + Etching ADSN 8888 | N | Spring 2020 Continuing Education

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Syllabus: Introduction to Woodcut + Etching ADSN 8888 | N | Spring 2020 Continuing Education Course Information Location: Dates: Thu Jan 30 - Apr 9 Note: No class Spring Break ​ Instructor Information Name: Rebecca Gilbert ​ Email: Email Policy: Feel free to contact me with any questions and I will do my best to reply within 24 hours. ​ Instructor Bio: Rebecca Gilbert works primarily in the mediums of woodcut, wood engraving, and intaglio to translate her drawings from the natural world into floating elemental reprieves - happy places that invite the viewer to slow down, live in the moment, and find optimism in that moment. Her work is characterized by a methodical technical approach to art making and a down-to-earth recognition of her own primal cravings. Ms. Gilbert’s work is in numerous public collections, including: The Princeton University Graphic Arts Library, Zuckerman Museum of Art, and The Free Library of Philadelphia Print and Picture Collection. Her work is also in many private collections and has been exhibited extensively. Among her most recent awards are an Independence Foundation Grant AND a Winterthur Artist/Maker Research Fellowship in 2018 to support her recent body of work, Visions of Plenty: Observation, Perception, Illusion, and ​ Reverie; an Artist-in-Residence at Sparkbox Studio in Picton, Ontario in 2017, a travel grant from The Center for ​ Emerging Visual Artists in 2015 to attend OCHO Artist Residency in Questa, New Mexico, and a Surdna Foundation Enrichment Grant to support her exploration of wood engraving at the Augusta Heritage Center in 2013. Ms. Gilbert earned an MFA in Printmaking + Book Arts from The University of the Arts and a BFA in Printmaking from Marshall University. She also studied non-toxic etching at the Grafisk Eksperimentarium in Capileira, Spain. Rebecca currently serves on the board of The Wood Engravers’ Network and is represented by The Print Center Gallery Store. She lives and works in South Philadelphia and teaches at The University of the Arts, Maryland Institute College of Art, and Fleisher Art Memorial. Course Description This course introduces two traditional printmaking processes: woodcut + etching. Woodcut is a relief process that involves carving an image into a plank of wood, rolling ink across the carved surface of the block, and using it to print your image onto paper. Etching is an intaglio process that involves printing from a metal plate which is etched with an image. The instructor will guide you through all of the steps necessary to translate your ideas using these graphic processes. You will start by working in black and white and later (time permitting) you will learn methods for incorporating color into your artwork. Students will become familiar with the tools, language, methods, and uarts.edu/ce | @uartsce | #UArtsCE ADSN 8888 | N SPRING 2020 ​ materials used for making unique prints as well as limited editions in a safe, clean, and friendly print shop environment. Pre-requisites There are no prerequisites for this course; however, to ensure your success, it is recommended that students bring ideas in the form of sketches or photographs to work from and always come to class prepared with the necessary supplies. Course Overview Class meetings will be divided between demonstrations, looking at examples, and time spent working in the studio. Course Objectives/Learning Objectives At the end of this course, students will: • know how to properly hold, implement, and care for woodcut tools and etching tools • be able to safely operate an etching press • will know safe practices for using ferric chloride solution to etch copper etching plates • be familiar with using oil-based ink to print relief and intaglio prints • know how to sign and number an edition of prints • have gained some familiarity of artists that have historically worked in the mediums ​ • be able to express themselves visually through the mediums of woodcut and intaglio ​ Course Resources The following books and websites are good resources, but are not required. Printmaking: A Complete Guide to Materials & Processes, Fick and Grabowski, 2009 ​ www.moma.org/exhibitions/2001/whatisaprint/flash.html www.crownpoint.com/printmaking Additional Course Materials | Supplies • Sketchbook (suggested, for notes, planning projects, and idea sketching) ​ ​ • shina plywood - will be available for purchase in class • Pencil • Apron • Newsprint pad 18” x 24” - available from Blick, Plaza Art, or Artist and Craftsman • Printing papers (will be discussed in class) - available from Blick, Plaza, or Artist and Craftsman • Ideas in the form of sketches or photographs to work from • Copper etching plate 4” x6”, or larger - available from Graphic Chemical, Renaissance Graphics, Blick, Plaza, or Artist and Craftsman • Etching needle - available from Graphic Chemical, Renaissance Graphics, Blick, Plaza, or Artist and Craftsman • Scraper - available from Graphic Chemical, Renaissance Graphics, Blick, Plaza, or Artist and Craftsman • Burnisher - available from Graphic Chemical, Renaissance Graphics, Blick, Plaza, or Artist and Craftsman • old paintbrushes, or cheap paint brushes 2 ADSN 8888 | N SPRING 2020 ​ • 1” foam brush - at least two of them - available from any art supply store, drug store, or hardware store • roll of paper towels • rubber gloves or nitrile gloves • If you already own woodcut tools, bring them with you to class on the first day. I’ll go over different types of tools available and suggest places to purchase tools during the first class meeting. Some tools will be available for use during class time, but many students may wish to purchase their own. Optional supplies: • Soft White conté crayon • Medium black conté crayon • The instructor will have several sets of woodcut tools available for you to use during class hours. You may choose to purchase your own woodcut tools. The instructor will go over the pros and cons of different types of tools in class. • A limited supply of Transfer paper and tracing paper will be provided in class. • Shellac will be provided in class. • Inks, solvents, and etchants will be provided for you to use in class. • Up to one can of spray paint will be provided in class. Course Policies Student Feedback/Communication If you experience an emergency, which will prevent you from completing required coursework on time, please communicate with the instructor at the earliest opportunity. Please state the nature of the emergency and when you expect to turn in the coursework. Attendance + Participation All students are expected to attend classes regularly and promptly, and for the duration of the scheduled instructional time. Individual instructors will decide the optimum time for taking attendance and may penalize for habitual lateness or absence. Please notify the instructor if you expect to miss a class. Repeated absences may result ​ ​ in a grade of "F" for the course. This course content is delivered through a series of presentations, examples and hands-on exercises in the print shop. Demonstrations build on one another so regular attendance is critical to your success. Students are expected to arrive on time and stay the length of the class. A student with more than two consecutive, or three total absences will not be able to pass the course, even if the absence is medically excused. Each absence past the first excused occurrence will result in a lowered grade. Any materials or announcements covered in class missed during an absence are the student’s responsibility. Lectures and class activities cannot be repeated. Students who withdraw from a course must do so in writing. Non-attendance does not constitute an official withdrawal. ​ Syllabi Changes to the course content will be communicated by email from the instructor, and the Program Director will be copied. The syllabus is subject to change based on individual needs of the class at the instructor’s discretion. 3 ADSN 8888 | N SPRING 2020 ​ University Policies Academic Honesty/ Integrity Policy Violations of academic integrity are considered to be acts of academic dishonesty and include (but are not limited to) cheating, plagiarizing, fabrication, denying others access to information or material, and facilitating academic dishonesty, and are subject to disciplinary action. To review the Academic Honesty/ Integrity Policy in its entirety, ​ ​ please visit: http://cs.uarts.edu/ce/policies#academichonesty/integritypolicy ​ Student Code of Conduct It is the policy of the Division of Continuing Studies to provide a safe and healthy environment for learning, personal growth and enjoyment. The well-being of this community depends upon the good judgment and considerate behavior of its members. Student status at The University of the Arts is not an unconditional right, but a privilege subject to certain rules and expectations articulated in the Student Code of Conduct. To review the Student Code ​ of Conduct in its entirety, please visit: http://cs.uarts.edu/uploads/media_items/student-code-of-conduct.original.pdf ​ ​ Notice of Nondiscrimination The University expressly prohibits any form of discrimination and harassment on the basis of race, color, national origin, religion, sex, gender identity, age, mental or physical disability, veteran status, or any other protected classification in accordance with Federal, state, and local non-discrimination and equal opportunity laws. If you have encountered any such form of harassment or discrimination, we encourage you to report this to the Title IX Coordinator and Diversity Administrator,
Recommended publications
  • Digitalisation: Re-Imaging the Real Beyond Notions of the Original and the Copy in Contemporary Printmaking: an Exegesis

    Digitalisation: Re-Imaging the Real Beyond Notions of the Original and the Copy in Contemporary Printmaking: an Exegesis

    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2017 Imperceptible Realities: An exhibition – and – Digitalisation: Re- imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis Sarah Robinson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Printmaking Commons Recommended Citation Robinson, S. (2017). Imperceptible Realities: An exhibition – and – Digitalisation: Re-imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis. https://ro.ecu.edu.au/theses/1981 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1981 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth).

  • 2666 38: Azu-/E (E.G4s Cz776erzazz

    (No Model.) 2. Sheets-Sheet 1 T. C. EBER HARD, ENGRAVING MACHINE, No. 415,450, Patented Nov. 19, 1889. () a 841 uo 11 for -2666 38: Azu-/e (e.g4s CZ776erzazz/ r. Washington, D.C. (No Model.) 2. Sheets-Sheet 2. T. C. EBER HARDT, ENGRAWING MACHINE, No. 415,450, Patented Nov. 19, 1889. V 928) it vesses s 3v-uovot sy - ZAeop/lavas CZ76erzorae, PETERS. Photo-lthographer. Washington, D.C. UNITED STATES PATENT OFFICE. THEOPHILU'S CHARIES EBER HARDT, OF (UERO, TEXAS. ENGRAVING-MACH NE. SPECIFICATION forming part of Letters Patent No. 415,450, dated November 19, 1889. Application filed December 21, 1888, Serial No. 294,296, (No model.) To all u?ion it inctly concern: transversely on the under side of the platen Be it known that I, THEOPHILUS CHARLES at a suitable distance from the outer end EBERHARDT, a citizen of the United States, thereof, and has notches or rabbets N in its 5. residing at Cuero, in the county of De Witt ends. and State of Texas, have invented a new and O represents a clamp, which is also arranged liseful Improvement in Engraving-Machines, on the under side of the platen, and is pro of which the following is a specification. vided at its ends with right-angled arms P, My invention, relates to an improvement that fit in the rabbets N. From the upper in engraving-machines; and it consists in the side of the clamp O, at the center of the same, O peculiar construction and combination of de projects a stem R, which extends through a vices that will be more fully set forth here central opening in the platen F, and on the inafter, and particularly pointed out in the outer end of the said stem is pivoted a lever claims.
  • Image Carrier Poster

    Image Carrier Poster

    55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1 The Museum of Printing, North Andover, MA and the Image Carrier www.museumofprinting.org Relief printing Wood cuts and wood engravings pre-dated moveable type. Called “xylographic printing,” it was used before Gutenberg for illustrations, playing cards, and small documents. Moveable type allowed corrections and editing. A wood engraving uses the end grain, where a wood cut uses the plank grain. Polymer plates are made from digital files which drive special engraving machines to produce relief plates. These plates are popular with many of today’s letterpress printers who produce invitations, and collectible prints. Metal relief cylinders were used to print repetitive designs, such as those on wrap - ping paper and wall paper. In the 1930s, the invention of cellophane led to the development of the anilox roller and flexographic printing. Today, flexography prints most of the flexible packaging film which accounts for about half of all packaged products. Hobbyists, artists, and printmakers cut away non-printing areas on sheets of linoleum to create relief surfaces. Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut Foundry type began with Gutenberg and evolved through Jenson, Garamond, Moveable type Caslon and many others. Garamond was the first printer to cast type that was sold to other printers. By the 1880s there were almost 80 foundries in the U.S. One newspaper could keep one foundry in business. Machine typesetting changed the status quo and the Linotype had an almost immediate effect on type foundries. Twenty-three foundries formed American Type Founders in 1890.
  • Multi-Block Printing the Tradition: Chiaroscuro Woodcuts

    Multi-Block Printing the Tradition: Chiaroscuro Woodcuts

    Multi-Block Printing The tradition: Chiaroscuro Woodcuts “The earliest colored woodcuts were intended to imitate the appearance of a type of drawing on colored paper known as chiaroscuro, much sought after by collectors. In these drawings, the colored paper served as the middle tone, and the artist worked toward the light (chiaro) by adding highlights with white gouache, and toward the dark (scuro) by adding crosshatching in pen or a dark wash with a brush. The chiaroscuro woodcut, invented in Germany by Hans Burgkmair around 1509, was created by printing a line block—which carried the contours and crosshatching, and could sometimes stand alone as a black and white woodcut—together with one or more tone blocks. If there were only one tone block, it would print a mid-tone that would function in the same way as the colored paper did in the drawings. Where more than one tone block was used, it was possible to suggest levels of shading, as in a wash drawing. Where the blocks had been cut away, the paper would remain unprinted, and these white areas would serve as the highlights.” Citation: Thompson, Wendy. "The Printed Image in the West: Woodcut". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/wdct/hd_wdct.htm (October 2003) Block Preparation In order to make this type of print, you will work from a KEY block (the “line block”, “the black” or the “Outline” of the overall composition). All blocks should be the same size. Render your line image onto the key block.
  • FINE 4002 Final Paper a New Perspective In

    FINE 4002 Final Paper a New Perspective In

    FINE 4002 Final Paper A New Perspective in Reviewing the Modern Woodcut Movement Chung Melanie (3035197462) With the rising tides of modernization in China during the early twentieth-century , Chinese intellectuals contentiously reevaluated the role of art in reform and modernization . Scholars struggled in the art and literary worlds between modernism and traditionalism while they were re-thinking about arts in their country . Woodcut prints, which became the "official art" of the Chinese Communist Party by the late 1940s, was one of the revolutionary media in art arising during the turbulent 1930s.1 Internally , power struggle between Nationalists and Communists made China's political conditions extremely unstable . Externally, China was also under threat from the aggressive Japanese imperialism . During this turbulent era, Lu Xun (1881-1936) advocated for a new form of art and inaugurated the Modern Woodcut Movement , which was inspired by western art forms, to motivate people to fight for China 's future. In this research paper , I will examine the impact of an art historian, Tang Xiaobing , to our understanding of the Modern Woodcut Movement. I would like to address the issues of how Tang's publication Origins of the Avant-ga rde: The Modern Woodcut Movement expands our understanding of woodcut as an art form and provides a new perspective in constructing Chinese art history. The research paper will first look into the discourse of the Modern Woodcut Movement in English-language scholarship. The paper will then examine how Tang has appropriated the idea of "avant-garde " to discuss the movement. The research paper will conclude with an evaluation of his argument and impact to the study of the early twentieth-century Chinese art history.
  • Rembrandt, with a Complete List of His Etchings by Arthur Mayger Hind

    Rembrandt, with a Complete List of His Etchings by Arthur Mayger Hind

    The Project Gutenberg EBook of Rembrandt, With a Complete List of His Etchings by Arthur Mayger Hind This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Rembrandt, With a Complete List of His Etchings Author: Arthur Mayger Hind Release Date: February 5, 2010 [Ebook 31183] Language: English ***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS *** Rembrandt, With a Complete List of his Etchings Arthur M. Hind Fredk. A. Stokes Company 1912 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 Contents REMBRANDT . .1 BOOKS OF REFERENCE . .7 A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS . .9 Illustrations 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 . vii 1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354. 24 7, I. BEGGAR MAN AND BEGGAR WOMAN CON- VERSING. 1630. B. 164 . 24 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66 . 25 23, I. BALD-HEADED MAN (REMBRANDT'S FA- THER?) In profile r.; head only, bust added after- wards. 1630. B. 292. First state, the body being merely indicated in ink . 26 38, II. THE BLIND FIDDLER. 1631. B. 138 . 27 40. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133 .
  • Woodcut Society 1932-1954 by Cori Sherman North with Transcriptions by John R

    Woodcut Society 1932-1954 by Cori Sherman North with Transcriptions by John R

    With the Grain: Presentation Prints of the Woodcut Society 1932-1954 by Cori Sherman North with transcriptions by John R. Mallery With the Grain: Presentation Prints of the Woodcut Society 1932-1954 by Cori Sherman North with transcriptions by John R. Mallery A digital publication printed in conjunction with an exhibition held at the Birger Sandzén Memorial Gallery from March 31 through June 2, 2019 The show included a complete set of the 44 prints in their original letterpress folders This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. On the cover: Twilight Toil by Allen Lewis, 1943, color woodcut and linoleum cut The Birger Sandzén Memorial Gallery in participating printmakers. Lindsborg, Kansas, is exhibiting its complete set of Woodcut Society membership prints in The Woodcut Society was primarily geared their original presentation folders, March 22 toward print collectors, with the publications through June 2, 2019. The 44 blockprints— “intended to be savored in the intimate setting wood engravings, woodcuts, and linocuts—were of one’s private library.”2 The membership print created by an international cast of 32 artists commissions were “all selected by one man, and reveal a wide variety of subject matter and unencumbered by juries or trustees, H.A. [Harry technique. Of the printmakers, Asa Cheffetz Alfred] Fowler, Director of the Society.”3 Artists (1897-1965), Paul Landacre (1893-1963), Clare were instructed to pull 200 impressions in one Leighton (1898-1989), and Thomas Nason (1889- edition, but the subject matter and edition paper 1971) each completed three membership prints, choice were left entirely to the printmaker.
  • A Brief History of Wood-Engraving from Its Invention

    A Brief History of Wood-Engraving from Its Invention

    ?- : fi «M*^4S - - . : 1 (CO ENGRAVER Jon Amman (1(68) ^ THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/briefhistoryofwoOOcundiala A BRIEF HISTORY OF WOOD -ENGRAVING FROM ITS INVENTION PRINTED BY Sl'OTTISWOODE AND CO., NEW-STREET SQUARE LONDON HEXKY VIII. IN COUNCIL (From IMinshetTs ' Chronicles of England; 1577) rage 100 A BRIEF HISTORY or WOOD -ENGRAVING FROM ITS INVENTION BY JOSEPH CUNDALL ' AUTHOR OF ' HOLBEIN AND HIS WORKS ETC. LONDON SAMPSON LOW, MARSTON, & COMPANY LIMITED St. Shtnstan's "toouse FETTER LANE, FLEET STREET, E.G. 180; . — Art Library I030 CONTENTS CHAPTER I PAGE On Pictures of Saints —The print of The Virgin with the Holy Child in her Lap in the Bibliotheque Boyale de Belgique- On the print of St. Christoplier in the Spencer Library at Manchester—The Annunciation and the St. Bridget of Sweden . 1 CHAPTEB II On the Block Books of the Fifteenth Century—iStblta |9att- pmim ; ^poralnuSte ^aiutt StoljannuS, &c. 11 CHAPTEB III The Block Books of the Fifteenth Century—!3r$ #fartClrtlt— Temptacio Diaboli—Cantt'rum CailttCOrum, and others 20 CHAPTEB IV Block Book—js>jierulum fittmanae £albatt0iutf— Casus Luciferi —The Mentz Psalter of 1459 —Book of Fables The Cologne Bible —Niirnberg Chronicle —Breydenbach's Travels 28 CHAPTER V On Wood-Engraving in Italy in the Fifteenth Century— The Venice Kalendario of 1476—The Triumph of Petrarch — The Hypnerotomachia Poliphili—Aldo Manuzio—Por- trait of Aldus 40 — — HISTORY OF WOOD-ENGRAVING CHAPTER VI On Wood-Engraving in France in the Fifteenth Century — ' Engraving on Metal Blocks ' Books of Hours —Famous French Publishers : Pierre Le Bouge, Simon Vostre, Antoine Verard, Thielinan Kerver, Guyot Marchanfc, Philippe Pigouchet, Jean Dupre, and others .
  • Progress in Printing and the Graphic Arts During the Victorian

    Progress in Printing and the Graphic Arts During the Victorian

    CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Ik Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924032192373 Sir G. Hayter, R./l. Bet* Majesty Queen Tictorta in Coronation Robes. : progress in printing and the 6raphic Hrts during the Victorian Gra. "i BY John Southward, Author of "Practical Printing"; "Modern Printing"; "The Principles and Progress of Printing Machinery"; the Treatise on "Modern Typography" in the " EncyclopEedia Britannica" Cgtii Edition); "Printing" and "Types" in "Chambers's Encyclopaedia" (New Edition); "Printing" in "Cassell's Storehouse of General Information"; "Lessons on Printing" in Cassell's New Technical Educator," &c. &c. LONDON SiMPKiN, Marshall, Hamilton, Kent & Co. Ltd. 1897. X^he whole of the Roman Cypc in tbta Booh has been set up by the Linotj^pe Composing Machine, and machined direct from the Linotj'pc Bars by 6eo. CH. loncs, Saint Bride Rouse, Dean Street, fetter Lane, London, e.C. ^ ^ ^ ^ ^ ^ ^ W Contents. ^^ Progress in Jobbing Printing Chapter I. Progress in Newspaper Printing Chapter II. Progress in Book Printing - Chapter III. Printing by Hand Press Chapter IV. Printing by Power Press Chapter V. The Art of the Compositor Chapter VI. Type-Founding Chapter VII. Stereotyping and Electrotyping Chapter VIII. Process Blocks Chapter IX. Ink Manufacture Chapter X. Paper-Making Chapter XI. Description of the Illustrations Chapter XII. ^pj progress in printing peculiarity about it It is not paid for by the person who is to become its possessor.
  • Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012

    Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012

    Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Table of Contents Page Contents 2 Image List 3 Printmaking as Art 6 Glossary of Printing Terms 7 A Brief History of Printmaking Written by Jennifer Jensen 10 Self Portrait in a Velvet Cap , Rembrandt Written by Hailey Leek 11 Lesson Plan for Self Portrait in a Velvet Cap Written by Virginia Catherall 14 Kintai Bridge, Province of Suwo, Hokusai Written by Jennifer Jensen 16 Lesson Plan for Kintai Bridge, Province of Suwo Written by Jennifer Jensen 20 Lambing , Leighton Written by Kathryn Dennett 21 Lesson Plan for Lambing Written by Kathryn Dennett 32 Madame Louison, Rouault Written by Tiya Karaus 35 Lesson Plan for Madame Louison Written by Tiya Karaus 41 Prodigal Son , Benton Written by Joanna Walden 42 Lesson Plan for Prodigal Son Written by Joanna Walden 47 Flotsam, Gottlieb Written by Joanna Walden 48 Lesson Plan for Flotsam Written by Joanna Walden 55 Fourth of July Still Life, Flack Written by Susan Price 57 Lesson Plan for Fourth of July Still Life Written by Susan Price 59 Reverberations, Katz Written by Jennie LaFortune 60 Lesson Plan for Reverberations Written by Jennie LaFortune Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Image List 1. Rembrandt Harmensz van Rijn (1606-1669), Dutch Self Portrait in a Velvet Cap with Plume , 1638 Etching Gift of Merrilee and Howard Douglas Clark 1996.47.1 2.
  • Rembrandt. the New Hollstein Dutch & Flemish Etchings, Engravings

    Rembrandt. the New Hollstein Dutch & Flemish Etchings, Engravings

    BR.OCT.pg.proof.corrs_Layout 1 16/09/2014 11:55 Page 675 massive undertaking and the broadest and brief sketch to a finished piece but more often Books most detailed survey of the artist’s prints to merely adjusted the shading or removed date, comprising seven volumes (two text, excess background lines. It is clear that some three of plates, and two with plates of copies). of the reworkings of his early plates were The authors of the New Hollstein took full carried out by others in the studio, among advantage of the array of technological them the Leiden printmaker Jan van Vliet, advances available to present-day scholars – known for having reproduced some of the relative facility of travel and the ability to Rembrandt’s paintings in print. Several produce high-quality digital images of prints anonymous printmakers appear to have also and X-radiographs of watermarks. They had a hand in reworking light sketches Rembrandt. The New Hollstein looked at works together and apart, sharing produced by the master around 1630 and Dutch & Flemish Etchings, Engravings large digital images that revealed changes dif- 1631. The authors were able to perceive these and Woodcuts 1450–1700. By Erik ficult if not impossible to identify with the underlying sketches thanks to enlarged digital Hinterding and Jaco Rutgers. 7 vols. 2,210 naked eye or a magnifying glass. details; such prints, extensively re-etched pp. incl. numerous col. + b. & w. ills. Their methods and findings are described in by another hand, are identified by a ‘w’ for (Sound and Vision Publishers, Ouderkerk the introduction to the first volume.
  • Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries

    Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries

    CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ...