A Concise Timeline of Printing Milestones
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DIRECTOR's REPORT September 20, 2018 FIGHTING COMMUNITY
DIRECTOR’S REPORT September 20, 2018 FIGHTING COMMUNITY DEFICITS On July 10th, OLBPD hosted its annual Family Fun and Learning Day in Cleveland at the Lake Shore Facility. OLBPD hosted 85 registered patrons who enjoyed tours of the Sensory Garden and OLBPD, as well as guest speakers Tracy Grimm from the SLO Talking Book Program, and Beverly Cain, State Librarian of Ohio. OLBPD patrons also enjoyed listening to keynote speaker Romona Robinson, WOIO-TV evening news anchor and author of “A Dirt Road to Somewhere,” and Pam Davenport, Network Consultant from the National Library Service. Exhibitors were also on hand from the Cleveland Sight Center, Guiding Eyes for the Blind, Magnifiers and More, and others offering products and services of interest to our patrons. FORMING COMMUNITIES OF LEARNING Summer Reading Club The 2018 Summer Lit League (SLL), formerly known as Summer Reading Club provided reading and engagement activities that were thematically aligned with Yinka Shonibare’s art installation The American Library. The exhibit in Brett Hall was a part of FRONT International: Cleveland Triennial for Contemporary Art, a regional art show held in Cleveland, Oberlin and Akron. Key aspects of the collaborative exhibition include international cultural diversity, immigration and the ever- changing political climate of an American City. As it relates to summer programming, the key aspects FRONT built the programmatic foundation of the SLL programmatic experience. Programming content focused on world art and culture activities. Throughout the summer program, participants participated in a variety of enrichment activities that promoted the arts, inclusion, community building, reading, writing and other forms of creative expression. -
Empire of Prints. the Imperial City of Augsburg and the Printed Image In
OPUS Augsburg 2016 Peter Stoll Empire of Prints The Imperial City of Augsburg and the Printed Image in the 17th and 18th Centuries1 Detail from the frontispiece to David Langenmantel’s Historie des Regiments in des Heil. Röm. Reichs Stadt Augspurg (Augsburg 1734); engraving by Jakob Andreas Friedrich: Augsburg city hall; on top of the cartouche the pine cone from the city’s coat of arms; to the right the eagle signifying the Holy Roman Empire. 1 This text, in a Spanish translation, first served as one of the introductory essays in an exhibition catalogue dealing with Augsburg prints as modellos for baroque paintings in Quito, Ecuador (‘El imperio del grabado: La ciudad imperial de Augsburgo y la imagen impresa en los siglos XVII y XVIII’, in: Almerindo E. Ojeda, Alfonso Ortiz Crespo [ed.]: De Augsburgo a Quito: fuentes grabadas del arte jesuita quiteño del siglo XVIII, Quito 2015, pp. 17-66). For the present purpose, all passages of the text which only made sense in the context of the exhibition have been removed. Nonetheless, the 18th century bias of the text as well as the selection of artists which come under closer scrutiny still reflect the origins of the essay. As it was meant to address not only art historians, but also a general interest readership, it contains much basic information about print- making and the cultural history of Augsburg. OPUS Augsburg 2016 / Stoll, Empire of Prints 2 _______________________________________________________________________________________ A very particular type of factory When in 2001 Johan Roger -
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. -
TURKISH 7Ilrkre
white red BULGA.RiA o 15 150 km GEORGIA " ..•. -•.. _ •."-_. j o 15 l;,Oml AZ£.R. '" "._, .. " ." Samsun'··· "._" .._--._---_.. - ...... -"'.-" Trabzon " Erzurum ·Ballkesir .Sivas .Manisa -.".. .~. ," "'... Turkey • Kayseri •Konya ,_Antalya Aege-a n fR,AQ {vf.editer"'ranean ~Sea CYPRLJS..<"c r" '-:.,." ~ ciaworldbook.com SECTION 41 Vol. II r? TVRK1SH AlPHA13£T AA Aa Bb Cc <;9 Dd Ee Ff Gg Gg Hh Ii 1i Jj Kk LI Mm Nn 00 05 Pp Rr Ss ~§ Tt Uu 00 Vv Yy Zz OSMANll (OTTOMAN) SCR1PT . .J oJ ~ .f.j ~ L L ~ t '"A". '-'• I .~ c b t 9 c l t P tJ '. h .. {. (. 10 b~,.,r,j'~ J J J , ;, Z r j ~ I. ~ stl s j •• ... ~. •• ~c) ~ ~ ~ ~ 0~ c) U ~ J y h "of n m I Ii g k ~ f , Y r f.. 0 '\ V 1\ ~ 0 2 3 4 5 6 7 8 9 {.>,. .. "(l~ omniglot.com II TURKISH 7ilrkre HISTORICAL BACKGROUND The land which we now know as Turkey is a land of dichotomies that has had an illustrious, as well as an infamous past, filled with great tolerance and even greater intolerance. It is the land of Troy, birthplace of Homer, Santa Claus and tulips, tryst place of Marc Anthony and Cleopatra, kingdoms of Croesus and Midas, the rescuer of the Jews, the perpetrator of the world's first genocide, and the refuge of the Virgin Mary. The words of Julius Caesar's veni, vidi, vici resounded across Amasya, east of Ankara in 47 BCE. Thus, it is a land of antiquity and iniquity, although Anatolia, the western area of Asian Turkey, is one of the oldest inhabited (as early as 7500 BCE) lands, Turkey, as a national state, is one of the youngest (1918). -
Marbling Turnings
MARBLING TURNINGS Fluid, Mesmerizing and Spontaneous MARY THOUIN Getting started OODTURNING AND MARBLING are ancient art forms that Even if you are only interested in are both taking on new marbling wood, I can’t emphasize faces. If someone asked me if these enough the value of first becoming Wtwo crafts share anything else in com- proficient in marbling paper. There mon, I would answer “most defi- are good reasons for this. nitely!” I started turning in 1974 and A sheet of paper costing a few marbling in 1992. What captivated me cents gives freedom to learn and ex- with woodturning 27 years ago is the periment. It’s easier to discard 50 same essence that drew me to mar- sheets of marbled paper than to dis- bling. Their similarities? I view them card or strip marbling on 50 wood- both to be very “fluid” art forms — turned bowls! Your first trial sheets both are meditative, mesmerizing, will help you sort out the peculiarities and spontaneous. of paint chemistry, bath consistency, A simple definition of marbling is humidity etc. And, more important, that it is the art of floating paints on a these practice sheets help you begin thickened liquid or water, patterning to learn essential basics and to gain a design, and making a contact print. confidence and competence in con- A variety of paints and liquids or trolling patterns, color, and color bal- “sizes”can be used. In this article, I’ll ance. focus only on my materials and meth- After marbling your first 100 ods using acrylic paints and a size of sheets or so of paper you’ll be as- water thickened with carageenan, tounded at what there is to learn in which is derived from seaweed. -
Anuscripts on My Mind
anuscripts on my mind News from the No. 23 January 2018 ❧ Editor’s Remarks ❧ Exhibitions ❧ Queries and Musings ❧ Conferences and Symposia ❧ New Publications, etc. ❧ Editor’s Remarks ear colleagues and manuscript lovers: My best Greetings and Happy 2018! I begin this issue with Da question to all paleographers and codicologists who may chance to read it: in your opinion, how con- temporary with the manuscript itself is the mend and text replacement on the image at right? Would it coin- cide with the addition of the gloss? How skillful is/are the scribe(s) who have imitated the gloss script in the lower portion of the mend; were the replacement let- ters done by the original gloss scribe, or by a later indi- vidual? Did the tear that occasioned the repair occur at the time the gloss was being written? I am trying to un- derstand the medieval criteria for making repairs. It is in- teresting that the repairer restored not only a tie mark for the gloss, but also the decorative bracket alongside 6 lines of gloss text in the lower righthand gloss column. Have you any ideas, observations, or technical input? Is there any bibliography on medieval repair practices for Vienna, ÖNB, Cod. 2109, fol. 30r the manuscript page? Please send me thoughts or infor- Justinian, Institutes mation you might have by email: [email protected] The deadline for submission of proposals to the Sixth Annual Symposium on Medieval and Renaissance Stud- ies, June 18–20, 2018, at Saint Louis University has been extended to the end of January, as has the deadline for the 45th Saint Louis Conference on Manuscript Studies that will take place within it. -
Sturbridge 7-27-07
Mailed free to requesting homes in Sturbridge, Brimfield, Holland and Wales Vol. iii, No. 24 COMPLIMENTARY HOME DELIVERY ONLINE: WWW.STURBRIDGEVILLAGER.NET ‘Conciseness is the sister of talent.’ Friday, June 12, 2009 TTantasquaantasqua seniorsseniors togethertogether untiluntil thethe endend NEARLY 300 GRADUATE WITH CLASS OF 2009 BY CHRISTOPHER TANGUAY VILLAGER STAFF WRITER STURBRIDGE — Sunday, June 7 marked the last time the nearly 300 graduating students from Tantasqua Regional High School would sit together as classmates. With students from both the aca- demic and technical divisions of the school together for one last time, family, friends, teachers and admin- istrators all gathered to say goodbye to the class of 2009. People came from all over to attend the commencement services. Some came from Brookfield, some from Brimfield, some from Holland and Wales, while others had the con- venience of having the graduation in their hometown, Sturbridge. One came from Wyoming. Karin Boltz, possibly the proudest grandparent in the Tantasqua Field House, came to the graduation to see her eldest granddaughter Lauren Boltz, receive her diploma. Shawn Kelley photo Boltz explained that her son, A proud parent lines up a snapshot of Tantasqua Regional High School graduates on Lauren’s father, passed away a little her camera. more than two years ago from a brain tumor, leaving behind three children. their first grandchild too, Deanna ities when looking back at the class In an incredible showing of fami- Laske. of ’09’s time at Tantasqua. ly solidarity, Boltz boarded an “I can’t believe that she’s grown Russ Chamberland attended Amtrak train in Cody,Wy.,and made up so fast,” Pat Laske said, looking Sunday’s graduation in support of a 50-hour voyage to Massachusetts back over the last 18 years. -
SOCIETY of MARBLING an International Organization 2006 ANNUAL
SOCIETY OF MARBLING An International Organization 2006 ANNUAL Society of Marbling 2006 Annual Guest Editor: Jake Benson Featured cover artwork by: GÜLZ PAMUKOLU Ebrû with calligraphy, 2005 Water base pigments on paper 40 x 26" Calligraphy: Mehmed Tahir Efendi, d.1845 Thuluth script, in Arabic "God, may His glory be glorified." © 2006 Marie Palowoda ii Table of Contents A Letter from the Editors ........................................................................................................1 Marie Palowoda and Jake Benson Society News ...........................................................................................................................3 Jake Benson In Memoriam: Phoebe Jane Easton (1916-2006) ...................................................................5 Jake Benson Featured Marbled Pattern A Brief History, and Possible Origin of the Schrotel Pattern ...............................................7 Jake Benson Schrotel Marble .....................................................................................................................11 Garrett Dixon Schrotel Pattern.....................................................................................................................14 Iris Nevins Collection Reviews Capturing Color: Decorated Paper in the University of Washington Libraries .................15 Sandra Kroupa and Katie Blake Norma Rubovits and her Collection at the Newberry Library in Chicago..........................21 Paul F. Gehl Marbling in the Frederick Douglas Collection at the -
Short Notice the Empress and the Black Art: an Early Mezzotint by Eleonora Gonzaga (1630-1686)*
the rijks the empress and the black art: an early mezzotintmuseum by eleonora gonzaga (1630-1686) bulletin Short notice The Empress and The Black Art: An Early Mezzotint by Eleonora Gonzaga (1630-1686)* • joyce zelen • he Print Room of the Rijks- < Fig. 1 Empress Eleonora and the Arts T museum in Amsterdam has in eleonora Eleonora Maddalena Gonzaga, daughter its collection a small mezzotint of a gonzaga, of Carlo ii Gonzaga, Duke of Mayenne, soldier wearing a decorative helmet Bust of a Roman and his wife Maria Gonzaga, was born Soldier, 1660. (fig. 1). The subject of this print is far on 18 November 1630, bearing the Mezzotint, from unique and the quality of the 144 x 113 mm. title Princess of Mantua, Nevers and 2 execution is by no means exceptional. Amsterdam, Rethel. As a young princess, Eleonora Nonetheless, this particular little print Rijksmuseum, inv. no. received an excellent education. She was is worthy of mention – solely because rp-p-1892-a-16745. fluent in several languages and well- of the signature and date in the upper versed in literature, music and art. left corner: Leonora Imperatrix fecit She was also a good dancer and a Ao. 1660. The year tells us that we are poet, and she enjoyed embroidery. dealing with an extremely early mezzo - On 30 April 1651 she married the tint. The technique was invented in Holy Roman Emperor Ferdinand iii the sixteen-forties and did not become (1608-1657), who was twenty years popular on a much wider scale until her senior, and took up residence in some decades later. -
What Is Mezzotint
WHAT IS A MEZZOTINT PRINT? © CAROL WAX, 2014 Mezzotint is a tonal form of engraving that was invented in 1642 by Ludwig von Siegen, a German soldier on leave in Amsterdam. The medium's ability to render subtle tonal gradations and replicate brushstrokes made it ideally suited for translating paintings, particularly portraits, into prints. Once introduced into England by Prince Rupert of the Rhine, mezzotint quickly developed into a vital industry for creating and disseminating reproductive prints. Although little known today, mezzotint prints had a profound impact on the course of Western art, especially Colonial American art. The medium fell into obscurity after the invention of photography made the need to copy images manually obsolete. Today, mezzotint engraving is experiencing a virtual renaissance as an art form for original expression. As opposed to burin engraving, in which black lines are incised on a white background, mezzotint begins with a black background from which tones are deducted. It’s similar to the method of drawing in which a white sheet of paper is blackened with charcoal and the image is “drawn” with an eraser. In mezzotint, a copper plate is substituted for the paper, and the black background is created using a tool called a rocker. burnisher scraper plate rocker The rocker has a curved serrated blade that is rocked back and forth over the plate surface. As the blade’s teeth prick the copper they plow up tiny burrs. When printed, these burrs will hold ink. Systematically rocking over the entire plate surface in many directions produces a field of burrs that will hold ink all over and print as a solid black tone. -
236 Reviews Like This Will Be Obvious
236 Reviews like this will be obvious. The half-flaw concerns the complexity of nomenclature for hands; as a result of Saenger's elaborations on T.J. Brown's improvements on the system originally advanced by Neil Ker, we have such terminology as a mid- twelfth-century Reading Abbey hand's being called 'proto-gothic textualis media formata' (p. 23). Is this truly progress? But no catalogue of manuscripts is perfect, and it is worth pointing out these deficiencies only in the hope that future enterprises may avoid them. Any such Downloaded from https://academic.oup.com/library/article/s6-16/3/236/965982 by guest on 24 September 2021 enterprises will also do well to emulate the many excellencies of Saenger's work — above all in the painstaking identification of texts, which reaches its climax with MS 102.2, a Jerome, Epistolae, written in Ancona in 1459, where no fewer than 189 items (many, of course, not by Jerome) are identified, with incipits and explicits. If it is primarily the year of publication which links these two works, there is also an obvious connection in the nature of the libraries concerned. Enviable as their buildings and their collections are in both cases, students of medieval and Renais- sance manuscripts will find them equally enviable in these catalogues which now display their riches so amply to the world of scholarship. Oh that the British Library were anything like as well supplied! Chapel Hill RICHARD W. PFAFF Splendours of Flanders: Late Medieval Art in Cambridge Collections. By ALAIN ARNOULD and JEAN MICHEL MASSING, with contributions from PETER SPUFFORD and MARK BLACKBURN. -
Chats on Old Prints
x<^ Irerm. Q!^ndTQb)s CHATS ON OLD PRINTS THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES BOOKS FOR COLLECTORS tVith Frontispieces and many Illustrations. CHATS ON ENQLISH CHINA. By ARTHUR HAYDEN'. CHATS ON OLD FURNITURE. By Arthur Havden. CHATS ON OLD PRINTS. (How to collect and valuo Old Engravlnfs.) By Arthur Hayden. CHATS ON COSTUME. By G. Wooluscrokt Rhead. CHATS ON OLD LACE AND NEEDLEWORK. By E. L. Lowes. CHATS ON ORIENTAL CHINA. By J. F. Blacker. CHATS ON OLD MINIATURES. By J. J. Foster, F.S.A. CHATS ON ENQLISH EARTHENWARE. (Companion volune to " Ctaat« on EnglUh Ctalaa.") By Arthur Hayden. CHATS ON AUTOGRAPHS. By A. M. Broadley. CHATS ON PEWTER. By H. J. L. ]. MASSfe, MA. CHATS ON POSTAGE STAMPS. By Fred. J. Melville. CHATS ON OLD JEWELLERY AND TRINKETS. By MacIver Percival. CHATS ON COTTAQE AND FARMHOUSE FURNITURB, (Companion volume to " Chat* on Old Furniture.") By Arthur Hayuen. CHATS ON OLD COINS. By Fred. W. Bukgess. CHATS ON OLD COPPER AND BRASS. By Fred. W. Burgkss. CHATS ON HOUSEHOLD CURIOS. By Fred. W. Burgess. CHATS ON OLD SILVER. By Arthur HAYnE.\. CHATS ON JAPANESE PRINTS. By Arthur Davison Ficke. CHATS ON MILITARY CURI05. By Stakley C. Johnson. CHATS ON OLD CLOCKS AND WATCHES. By Arthur Hatden. CHAT5 ON ROYAL COPENHAGEN PORCELAIN. By Arthur Hayden. CHATS ON OLD SHEFFIELD PLATE. (Companion volume to "Chat* on Old Silver.**) By Arthur Hayden. CHATS ON OLD ENGLISH DRAWINGS. By Randall Davies. CHATS ON WEDGWOOD WARE. \ By Hakrt Barnard. BYB PATHS OF CURIO COLLECTING. By Arthur Hatdbm. With Frontitpiece and 72 Pull pafe Illustrations.