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Arcadia • Richard Tuttle: Scherenschnitt • Giulio US $25 The Global Journal of Prints and Ideas January – February 2015 Volume 4, Number 5 Arcadia • Richard Tuttle: Scherenschnitt • Giulio Campagnola • Claude Lorraine • Arcadia in Germany Jan van de Velde II • London Transport Posters • KP Brehmer • Hokusai • Marcel Pautot • Prix de Print • News international fine ifpda print dealers association 2015 Calendar San Francisco Fine Print Fair January 24–25 Details at sanfrancisco-fineprintfair.com IFPDA Foundation Deadline for Grant Applications March 30 Guidelines at ifpda.org IFPDA Book Award Submissions due June 30 Guidelines at ifpda.org IFPDA Print Fair October 28 – November 1 Park Avenue Armory, New York City More at PrintFair.com Ink Miami Art Fair December 2–6 inkartfair.com IFPDA Foundation Curatorial Internships Applications for 2016 funding due September 15 Guidelines at ifpda.org For IFPDA News & Events Follow us on Twitter @ifpda Visit What’s On at ifpda.org Subscribe to our monthly events e-blast at ifpda.org Follow us on Facebook or Instagram See the World’s Leading Experts www.ifpda.org 250 W. 26th St., Suite 405, New York, NY 10001-6737 | Tel: 212.674.6095 | [email protected] Art in Print 2015.indd 3 12/9/14 6:13 PM international fine ifpda print dealers association 2015 Calendar January – February 2015 In This Issue Volume 4, Number 5 San Francisco Fine Print Fair Editor-in-Chief Susan Tallman 2 Susan Tallman On Arcadia January 24–25 Associate Publisher Art in Art in Print Number 1 3 Details at sanfrancisco-fineprintfair.com Julie Bernatz Richard Tuttle / Defining the Book: Scherenschnitt (2015) Managing Editor Dana Johnson Dagmar Korbacher 6 IFPDA Foundation Poetic Printmaking: Arcadia and Deadline for Grant Applications March 30 News Editor the Engravings of Giulio Campagnola Isabella Kendrick Guidelines at ifpda.org Christian Rümelin 12 Manuscript Editor Claude Lorrain and the Notion of Prudence Crowther Printed Arcadian Landscapes Robert Fucci 17 IFPDA Book Award Online Columnist Arcadia Unbound: Early Dutch Sarah Kirk Hanley Submissions due June 30 Landscape Prints and the Amenissimae Design Director aliquot regiunculae of 1616 by Guidelines at ifpda.org Skip Langer Jan van de Velde II Editorial Associate F. Carlo Schmid 23 Michael Ferut “Our joy be Arcadian, and free!” IFPDA Print Fair Arcadia in German Prints Around 1800 Editor-at-Large October 28 – November 1 Elaine Mehalakes 28 Catherine Bindman Underground to Arcadia: Park Avenue Armory, New York City London Transport Posters 1908–1914 More at PrintFair.com William Cole 32 Marcel Pautot and his Images de Provence Ink Miami Art Fair Reviews December 2–6 Laurie Hurwitz 37 Master of the Floating World inkartfair.com Paul Coldwell 40 KP Brehmer’s Realpolitik Brian D. Cohen 42 IFPDA Foundation Curatorial Internships Gillian Pederson-Krag On the Cover: Sidney Thomas Charles Weeks, Ulrich Pfisterer 44 Applications for 2016 funding due September 15 detail of Kew, by tram from Shepherd’s Bush; Arcadia: Paradise on Paper daisy walk (1913), poster, 101.6 x 63.5 cm. Guidelines at ifpda.org Printed by Avenue Press Ltd, London. Published Prix de Print, No. 9 46 by Underground Electric Railways Company Ltd, Diana Ewer London. ©TfL from the London Transport Museum Island by Victoria Burge collection. News of the Print World 48 For IFPDA News & Events This Page: Johann Heinrich Lips, detail of The Contributors 62 Follow us on Twitter @ifpda Evening from the series The Times of the Day Guide to Back Issues 63 Visit What’s On at ifpda.org (1805), etching and aquatint, printed in sepia, Charles Booth-Clibborn collection, London Subscribe to our monthly events e-blast at ifpda.org (Contemporary Editions Ltd, London). Follow us on Facebook or Instagram Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org Art in Print is supported in part See the World’s Leading Experts [email protected] by an award from the 1.844.ARTINPR (1.844.278.4677) National Endowment for the Arts. www.ifpda.org No part of this periodical may be published Art Works. without the written consent of the publisher. 250 W. 26th St., Suite 405, New York, NY 10001-6737 | Tel: 212.674.6095 | [email protected] Art in Print 2015.indd 3 12/9/14 6:13 PM Art in Art in Print is a new irregu- On Arcadia lar, ongoing series of projects in which artists create art within the journal— By Susan Tallman not a piece of art that exists somewhere else and is reproduced in the journal, but a project designed specifically for the material, technological and social Shepherds, scatter the ground with leaves, focus of political and social aspirations. context of Art in Print. cover Twentieth-century positivism trans- We are pleased to present Richard the streams with shade (such Daphnis formed the poetic idyll of Arcadia into a Tuttle’s Defining the Book: Scheren- commands), viable destination, at least on weekends: schnitt as the first of these projects. and raise a tomb, and on it set this verse: Elaine Mehalakes surveys the deploy- As a venue for critical discussion of “I was Daphnis in the woods, known from ment of Arcadia in posters designed for art and images, Art in Print necessarily here to the stars, the London Underground, while William and routinely “reproduces” works of lovely the flock I guarded, lovelier was I.”1 Cole’s account of Marcel Pautot’s tiny art at the wrong scale, with the wrong gypsographs shows the idyllic instinct materials and in the wrong context. aphnis, the mythical poet-shepherd still thriving in mid-century Provence. In Art history—and most other learn- D mourned in Virgil’s fifth Eclogue, is his book review of Gillian Pedersen-Krag, ing—would be curtailed to the level of the embodiment of a particular European Brian Cohen examines a contemporary the Dark Ages without such reproduc- dream: rustic pleasures divorced from artist who invokes the stasis and melan- tions. But as a venue for critical dis- the machinations of power and the pur- choly that are as fundamental to Arcadia cussion of—specifically—printed art, suit of gain—a world of sheep, panpipes as happy flocks. Art in Print is particularly conscious of and poetry. But like the visual artists As Korbacher points out in her essay, the losses, distortions and misappre- who would later follow him into Arcadia, Arcadia’s power lies in its role as an alter- hensions that accumulate in the gap Daphnis was not without ambition: with native to the demands and distractions between the actual art object and its his lyrical evocations of the simple life he of urban life. In our reviews section, reproduction, whether that “original” competed with men and gods. That ker- Laurie Hurwitz surveys the mammoth in question is the Apollo Belvedere or nel of conflict—the desire to live in the Hokusai exhibition at the Grand Palais Marcantonio’s engraving of the Apollo moment and to be remembered for all and the extraordinary career of an art- Belvedere. time—gives this depicted Arcadia its grit. ist intensely engaged in the vibrant world We felt we owed it to the readers of The perfect Arcadian artist celebrates the of his time. Paul Coldwell looks at the Art in Print to bring into its pages actual mundane through means so perfectly career of the under-recognized German works of art—ink-on-paper beings that calibrated they almost—but not quite— artist KP Brehmer, whose print projects carry all the content the artist intended. escape notice. One could argue the for decades skewered the socioeconomic Art designed expressly for this page. entirety of art rests in that “not quite.” shenanigans of the postwar world. There is no artist better fitted to This issue of Art in Print is designed The winner of this issue’s Prix de launch this endeavor than Richard as a topographic tour of Arcadia spread Print, selected by Diana Ewer, is Victoria Tuttle. For 50 years, Tuttle has been over five centuries. The idea was sparked Burge, whose Island knits together the nudging us to consider the tangled by the Berlin Kupferstichkabinett’s heavens and the South Seas—real places interdependencies that govern percep- 2014 exhibition “Arkadien: Paradies auf endlessly used as backdrops for the pro- tion and understanding. The recent Papier: Landschaft und Mythos in Ital- jection of dreams. retrospective of his prints at Bowdoin ien” organized by Dagmar Korbacher (and Finally, for this issue, Richard Tuttle College and its accompanying cata- reviewed in this issue by Ulrich Pfisterer). has created a new work, designed to take logue1 illuminate how he has brought Dr. Korbacher opens our issue with her form in the ordinary paper and commer- his curiosity and attentiveness to bear study of Giulio Campagnola’s rare, limpid cially printed page of Art in Print. The on the physical characteristics and engravings, among the first to build the songs of Daphnis, after all, were played habitual allusiveness of the print. Often softness of Arcadia from incised copper. on simple panpipes. Perhaps, Tuttle sug- this has meant surfaces of tremendous Christian Rümelin shows how, a century gests, “a good print is a trip to Arcadia and delicacy or grit whose presence lies later, Claude Lorrain adapted the by- back.” outside our common experience and then familiar view of Rome to serve the lures us into slow and careful look- bucolic temperament of Arcadia, trans- Susan Tallman is the Editor-in-Chief of ing. In Scherenschnitt Tuttle uses a forming the European understanding Art in Print. different strategy to capture eyes, mind of what landscapes could be and mean. and hand. Robert Fucci follows these ideals as they Notes: migrated north, where 17th-century art- 1.
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