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Books on the topic 'Printed image'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Graphic communications: The printed image. South Holland, Ill: Goodheart-Willcox Co., 1994.

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2

Graphic communications: The printed image. South Holland, Ill: Goodheart-Willcox, 1989.

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3

Graphic communications: The printed image. Tinley Park, Ill: Goodheart-Willcox, 1999.

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4

Graphic communications: The printed image. 5th ed. Tinley Park, Ill: Goodheart-Willcox Co., 2010.

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5

Pauline, Rohatgi, ed. Scenic splendours: India through the printed image. London: British Library, 1989.

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6

Kenney, Anne R. Illustrated book study: Digital conversion requirements of printed illustrations. Ithaca, NY: Cornell University Library, Dept. of Preservation and Conservation, 1999.

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7

Kenney, Anne R. Illustrated book study: Digital conversion requirements of printed illustrations. Ithaca, NY: Cornell University Library, Dept. of Preservation and Conservation, 1999.

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8

Areford, David S. The viewer and the printed image in late medieval Europe. Surrey, UK: Ashgate, 2009.

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9

Areford, David S. The viewer and the printed image in late medieval Europe. Farnham, England: Ashgate, 2010.

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10

The viewer and the printed image in late medieval Europe. Farnham, England: Ashgate, 2010.

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11

Image et société en Russie, 1668-1725. Bern: P. Lang, 1985.

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12

The printed image and the transformation of popular culture,1790-1860. Oxford: Clarendon Press, 1994.

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13

The printed image and the transformation of popular culture, 1790-1860. Oxford: Clarendon Press, 1991.

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14

Lambert, Susan. The image multiplied: Five centuries of printed reproductions of paintings and drawings. London: Trefoil, 1987.

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15

The image multiplied: Five centuries of printed reproductions of paintings and drawings. London: Trefoil Publications, 1987.

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16

"Photos of the Gods": The printed image and political struggle in India. New Delhi: Oxford University Press, 2004.

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17

'Photos of the Gods': The printed image and political struggle in India. London: Reaktion, 2004.

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18

Monteyne, Joseph. The printed image in early modern London: Urban space, visual representation, and social exchange. Aldershot, England: Ashgate, 2007.

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19

Lyon, Bibliothèque municipale de, ed. Si tu es sage, tu auras une image: Imagerie populaire, religieuse et profane du fonds Michel Chomarat de la Bibliothèque de Lyon. [Lyon]: Mémoire active, 1998.

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20

Bibliothèque nationale (France). Département des imprimés. Astrologie et prophétie, merveilles sans image: L'appareil iconographique dans la littérature divinatoire française au seizième siècle. Paris: Bibliothèque nationale, 1994.

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21

Le grand livre des images d'Epinal. Paris: Solar, 1996.

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22

Ernewein, Jean-Louis. Images-souvenirs de nos villages. Gambais]: Bastberg, 2005.

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23

Echeverria, Durand. The French image of America: A chronological and subject bibliography of French books printed before 1816 relating to the British North American colonies and the United States. Metuchen, N.J: Scarecrow Press, 1994.

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24

R, Varner Eric, Ciejka Jason, and Michael C. Carlos Museum, eds. Antichità, teatro, magnificenza: Renaissance & Baroque images of Rome. Atlanta, Georgia: Michael C. Carlos Museum, Emory University, 2013.

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25

Sargent Noyes, Ruth. Reassessing Epistemic Images in the Early Modern World. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463723350.

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This edited collection of papers explores from an interdisciplinary perspective the role of images and objects in early modern knowledge-making practices with an emphasis on mapping methodological approaches against printed pictures and things. The volume brings together work across diverse printed images, objects, and materials produced c. 1500-1700, as well as well as works in the ambit of early modern print culture, to reframe a comparative history of the rise of the ‘epistemic imprint’ as a new visual genre at the onset of the scientific revolution. The book includes contributions from the perspective of international scholars and museum professionals drawing on methodologies from a range of fields.

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26

Renié, Pierre-Lin. Une image sur un mur: Images et décoration intérieure au XIXe siècle. [Bordeaux]: Musée Goupil, 2005.

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27

Printing images in Antwerp: The introduction of printmaking in a city : fifteenth century to 1585. Rotterdam: Sound & Vision Interactive, 1998.

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28

Bernard, Huin, Musée du Québec, and Réunion des musées nationaux (France), eds. Images d'Épinal. Québec: Musée du Québec, 1995.

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29

Perrout, René. Trésors des images d'Epinal. [Barembach]: J.-P. Gyss, 1985.

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30

Graphic Communications: The Printed Image. Goodheart-Wilcox Publisher, 1998.

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31

Prust, Z. A. Graphic Communications: The Printed Image. 4th ed. Goodheart-Wilcox Publisher, 2002.

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32

Prust, Z. A. Graphic Communications: The Printed Image. 3rd ed. Goodheart Wilcox Company, 1998.

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33

Prust, Z. A. Graphic Communications: The Printed Image (Workbook). Goodheart-Wilcox Publisher, 1998.

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34

Pierce, Helen. Graphic Satire and the Printed Image in Shakespeare’s London. Edited by Malcolm Smuts. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.013.40.

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Abstract:

How was the multiplied, printed image encountered in Shakespeare’s London? This chapter examines a range of genres and themes for single sheet, illustrated broadsides in an emerging, specialist print market. It discusses how such images were used to persuade and to entertain a potentially broad cross-section of society along moral, political and religious lines, and according to both topical and commercial interests. The mimetic nature of the English print in both engraved and woodcut form is highlighted, with its frequent adaptation of continental models to suit more local concerns. Consideration is also given to the survival of certain images in later seventeenth-century impressions, indicative of popularity and the common commercial practice of reprinting stock from aging plates and blocks, and the sporadic nature of censorship upon the illustrated broadside.

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35

The Printed Image in Early Modern London. Ashgate, 2007.

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36

Studies in Ephemera: Text and Image in Eighteenth-Century Print. Bucknell University Press, 2015.

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37

Studies in Ephemera: Text and Image in Eighteenth-Century Print. Bucknell University Press, 2013.

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38

Murphy, Kevin. Studies in Ephemera: Text and Image in Eighteenth-Century Print. Bucknell University Press, 2013.

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39

Areford, David S. Viewer and the Printed Image in Late Medieval Europe. Taylor & Francis Group, 2016.

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40

Graphic Clay: Ceramic Surfaces and Printed Image Transfer Techniques. Lark Books, 2015.

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41

Areford, DavidS. Viewer and the Printed Image in Late Medieval Europe. Taylor & Francis Group, 2017.

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42

editor, Scuffil Michael translator, Buchhandlung Walther König, and Museum für Ostasiatische Kunst der Stadt Köln, eds. The printed image : the flowering of Japan's woodblock printing culture. 2018.

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43

Imagined Worlds: Willful Invention and the Printed Image 1470-2005. AXA GALLERY, 2005.

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44

Jurkowlaniec, Grażyna, and Magdalena Herman. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries. Taylor & Francis Group, 2020.

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45

Photos of the Gods: The Printed Image and Political Struggle in India. Oxford University Press, 2004.

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46

Anderson, Patricia. The Printed Image and the Transformation of Popular Culture, 1790-1860 (Clarendon Paperbacks). Oxford University Press, USA, 1994.

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47

Monteyne, Joseph. Printed Image in Early Modern London: Urban Space, Visual Representation, and Social Exchange. Taylor & Francis Group, 2016.

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48

Monteyne, Joseph. Printed Image in Early Modern London: Urban Space, Visual Representation, and Social Exchange. Taylor & Francis Group, 2017.

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49

Jurkowlaniec, Grażyna, and Magdalena Herman. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries: Multiplied and Modified. Taylor & Francis Group, 2020.

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50

Jurkowlaniec, Grażyna, and Magdalena Herman. Reception of the Printed Image in the Fifteenth and Sixteenth Centuries: Multiplied and Modified. Taylor & Francis Group, 2020.

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