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Artigos de revistas sobre o tema "History of Prints"

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Autor: Grafiati

Publicado: 7 de julho de 2024

Última modificação: 7 de julho de 2024

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1

Morris, David. "The Clough Collection of Prints at the Whitworth Institute". Bulletin of the John Rylands Library 92, n.º 2 (setembro de 2016): 167–85. http://dx.doi.org/10.7227/bjrl.92.2.10.

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George Clough‘s donation of old master prints raised the Whitworth Institute‘s collection to international standing. Simultaneously, it presented Manchester with a viewing experience that was possibly unique in Britain, and placed on permanent display one of the nations finest collections of engravings, etchings and woodcuts so as to offer a visual history of the medium of print. Clough had a special interest in Marcantonio Raimondi, collecting over forty prints by him at a time when such works commanded high prices. This article examines the history and composition of Clough‘s collection and its place in the collecting culture of northern England, and of Manchester in particular, around 1900.

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2

Krishnan, Nirmal. "Personal Identification through Lip Prints". International Journal of Forensic Sciences 7, n.º 4 (2022): 1–5. http://dx.doi.org/10.23880/ijfsc-16000279.

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Personal identification is one of the main aspects of criminal investigation. The study of lip prints known as cheiloscopy has helped to find and help in the identification of the perpetrators and victims. There is a need to study lip prints since according to the review of literature only mere studies are done over this topic. The present study focuses on different aspects of lip prints which includes the history and development of lip print patterns, various lip print patterns and its classifications, recording of the lip prints and the methods used in development of lip print patterns found in the crime scene. This descriptive paper inculcates the readers with a complete and brief knowledge about the lip prints and its importance as a tool for personal identification.v

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3

Box, Louise Voll. "Enlightened “Museums of Images” or Decorative Displays? Elizabeth Seymour Percy and the Eighteenth-Century Print Room". Eighteenth-Century Life 45, n.º 3 (1 de setembro de 2021): 135–57. http://dx.doi.org/10.1215/00982601-9273027.

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In the second half of the eighteenth century, “print rooms”—created by pasting prints and paper ornaments directly onto walls—were a short-lived mode of fashionable English interior decoration. Concurrently, collections of prints continued to be bound into albums or stored in portfolios in private libraries. Although they took different forms, print rooms and print albums shared characteristics that marked them as “enlightened” cultural practices: both featured prints arranged in preconceived aesthetic or intellectual schemes that presented elite, pan-European cultural subjects, imagery, and ideas. Prints in albums or prints on walls could therefore operate as “museums of images”—each format ostensibly encouraged viewers to respond emotionally or intellectually to prints. Yet there is strong evidence to suggest that prints in print rooms and in print collections were perceived differently. This essay draws on the predominantly unpublished journals and correspondence of English collector Elizabeth Seymour Percy, first Duchess of Northumberland (1716–76), to reveal the very different ways in which she described prints in each setting. For her, albums or portfolios of prints were edifying “spaces of enlightenment,” while prints in print rooms performed merely a decorative function.

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4

Yang, Xiangmin. "The Classification, Artistic Status, and Extended Significance of Chinese Landscape Woodblock Prints-An Elaboration on the Value of the Collection “Landscape Woodblock Prints of the Ming and Qing Dynasties”". Journal of Ancient Chinese Arts and Crafts 1, n.º 1 (2023): 1–13. http://dx.doi.org/10.59528/ms.jacac2023.0802a1.

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The collection “Landscape Woodblock Prints of the Ming and Qing Dynasties” treats landscape woodblock prints as a distinct category, systematically organizing and presenting them in chronological order to showcase their development and evolution, and geographically to reveal regional differences. This approach promotes the independence of traditional Chinese prints in art history, elevating their status and influence. In Chinese history, the division of labor and cooperation in printmaking allowed both literati and professional painters to participate in print creation, contributing to the improvement of the art form. Landscape woodblock prints not only have the indicative function of landscape maps but also possess the artistic characteristics of landscape paintings, representing a pictorial form that bridges and draws from both. Ancient landscape woodblock prints and landscape paintings complement each other and provide mutual support in both creation and research. Landscape woodblock prints are closely related to the local geography and serve as important supporting materials for advancing the study of artistic geography. Compared to landscape paintings, they hold greater significance and value in the field of artistic geography.

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5

Perry, T. S. "'PostScript' prints anything: a case history". IEEE Spectrum 25, n.º 5 (maio de 1988): 42–46. http://dx.doi.org/10.1109/6.4550.

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6

Laing, Ellen Johnston. "Picturing Men and Women in the Chinese 1911 Revolution". Nan Nü 15, n.º 2 (2013): 265–316. http://dx.doi.org/10.1163/15685268-0152p0003.

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In the late nineteenth and early twentieth century many Han Chinese, under the leadership of Sun Yatsen (1866-1925) and others sought to overthrow the Manchu Qing dynasty. This movement culminated in the Revolution which began in October 1911 and ultimately deposed the Qing imperial household, permitting the establishment of a republican government. As the Revolution progressed, the commercial popular print business, through inexpensive lithographs and woodblock prints, provided citizens with illustrations of important events in the Revolution, as well as portraits of male and female participants. Modern commentary on these prints identifies the subjects depicted, but neglects the artistic elements. To fill this gap, this study examines the artistic aspects of these prints and reveals that the source of the compositional formats lies in well-established formulae, some of which go back to the eighteenth century. For specific portraits of male participants in particular, print designers often relied on current photographs, thus melding old and new. For representations of female military participants, print designers, mostly eschewing photographs of them, provided imaginary portraits, some of which are based on depictions of anonymous women, again, already a part of the print legacy. The prints frequently feature two military women famous at the time, one real (Cao Daoxin) and one fictional (Xu Wuying); this essay explains how and why images of them were so widespread in the popular print media.

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7

Tůmová, Adéla. "Japanese Modernization Prints Collection (Yokohama-e and Kaika-e) in the Náprstek Museum". Annals of the Náprstek Museum 43, n.º 2 (2022): 107–31. http://dx.doi.org/10.37520/anpm.2022.012.

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This article deals with the collection of prints Yokohama-e and kaika-e, which are part of the collection of woodblock prints in the Náprstek Museum. The Yokohama-e and kaika-e woodblock prints were created in the second half of the 19th century in response to Japan’s changing politics, the arrival of foreigners, and the modernization of the country, thus capturing both the first introduction to Western innovations and the manner in which these subjects were presented to the public in Japan. The modernization prints in the Náprstek Museum have not yet been evaluated by scholars; the aim of this article is to provide information concerning this part of the woodblock print collection – the artists of the prints, the subjects depicted, and the question of the donors through whose agency the prints came into the museum’s possession.

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8

Das, Arit, Jocelyn A. Riet, Michael J. Bortner e Claire McIlroy. "Rheology, crystallization, and process conditions: The effect on interlayer properties in three-dimensional printing". Physics of Fluids 34, n.º 12 (dezembro de 2022): 123108. http://dx.doi.org/10.1063/5.0128660.

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Semicrystalline polymers are an attractive feedstock choice for material extrusion (MatEx)-based three-dimensional printing processes. However, the printed parts often exhibit poor mechanical properties due to weak interlayer strength thereby limiting the widespread adoption of MatEx. Improved interlayer strength in the printed parts can be achieved through a combination of process parameter selection and material modification but a physics-based understanding of the underlying mechanism is not well understood. Furthermore, the localized thermal history experienced by the prints can significantly influence the strength of the interlayer welds. In this work, a combined experimental and modeling approach has been employed to highlight the relative impact of rheology, non-isothermal crystallization kinetics, and print geometry on the interlayer strength of printed parts of two semicrystalline polymers, namely, polylactic acid (PLA) and polypropylene (PP). Specifically, the print properties have been characterized as a function of print temperature and print speed. In the case of single road width wall (SRWW) PLA prints, the total crystalline fraction increases due to the broadening of the crystallization window at higher print temperatures and lower print speeds. The results are substantiated by the constitutive modeling results that account for the effects of quiescent crystallization. However, SRWW PP prints display a reduction in the interlayer properties with temperature likely due to significant flow-induced crystallization effects, as suggested by the model. Interestingly, in the case of multilayer PP prints, the repeated heating/cooling cycles encountered during printing counteracts the flow-induced effects leading to an increase in mechanical properties with print temperature consistent with SRWW PLA prints.

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9

Dippie, Brian W., e Ron Tyler. "Prints of the West". Western Historical Quarterly 27, n.º 1 (1996): 81. http://dx.doi.org/10.2307/969929.

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10

Cochran, Robert, e Mike Disfarmer. "Disfarmer: The Vintage Prints". Arkansas Historical Quarterly 65, n.º 4 (2006): 449. http://dx.doi.org/10.2307/40028096.

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11

Levy, Evonne. "Eyewitnessed Historia and the Renaissance Media Revolution: Visual Histories of the Council of Trent". Representations 145, n.º 1 (2019): 55–79. http://dx.doi.org/10.1525/rep.2019.145.1.55.

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This essay examines the collision of Renaissance narrative or historia in the visual arts and the eyewitnessed event and the pressure put on that convergence by the dissemination of the latter in the new print media. The example discussed here is the Council of Trent, a storyless but signal event that conformed with difficulty to an ideal “historia,” and one that was often depicted after eyewitnessed scenes of the event had already been disseminated in engravings. The veracity of the scene captured in a print created new chains of media: prints led to paintings, and to more prints, and images led to written history, rather than vice versa.

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12

Fluda-Krokos, Agnieszka. "Stare druki pozyskane do Biblioteki Książąt Czartoryskich z leżajskiego klasztoru oo. Bernardynów w świetle spisu z roku 1875". Galicja. Studia i materiały 8 (2022): 337–55. http://dx.doi.org/10.15584/galisim.2022.8.22.

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The library of the Czartoryski Princes is one of the most valuable resources of culture heritage manuscripts and prints, created over generations, marked by the history of the country and the history of the family. One of the places where it was stored and multiplied was the palace in Sieniawa, where manuscripts and old prints from the Leżajsk-based Bernardine Fathers library found their way, thanks to the activities of Erwin Rödel. The article presents a part of these resources – brought by a book acquisitor and recorded in the inventory on 25 April 1875. The list contains information on three manuscripts and 115 print titles, the majority of which have been found in the present collection, while Bernardine provenance has been confirmed in nine.

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13

Silver, Larry, e Jan Van der Stock. "Early Prints: The Print Collection of the Royal Library of Belgium". Sixteenth Century Journal 35, n.º 3 (1 de outubro de 2004): 846. http://dx.doi.org/10.2307/20477062.

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14

Sawyerr, Naa Omai, Richard Acquaye e Cynthia Agyeiwaa Kusi. "Semiotics of Factory Printed Wax Prints across West Africa". International Journal of Cultural and Art Studies 7, n.º 2 (31 de outubro de 2023): 64–76. http://dx.doi.org/10.32734/ijcas.v7i2.12684.

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This research explores the topic of factory-printed wax fabrics in West Africa, focusing on their portrayal and significance within the region. The study examines the resemblances and distinctions of these prints across different countries, as well as their applications, meanings, and interpretations. The historical and cultural importance of wax prints in West African society, culture, and economy is emphasized, highlighting the diverse meanings embedded within seemingly uniform designs. The research methodology involves qualitative research and selective sampling, with ten wax print designs chosen for analysis in Ghana, Nigeria, Cote d'Ivoire, and Togo. These countries were selected based on their integration, trade, production, and cultural significance related to wax prints. Data collection involved meticulous observation, thorough documentation, interviews, and thematic analysis. The findings reveal both similarities and differences among the analyzed designs, each representing unique narratives and embodying cultural significance. These prints are not just patterns, but also vessels of history, with captivating stories intertwined with their origins. To ensure the preservation and relevance of these visual representations for future generations, it is recommended to undertake comprehensive documentation and cataloging of traditional wax prints.

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15

Hollinger, Marian J., e Stephanie S. Dickey. "Rembrandt Portraits in Prints". Sixteenth Century Journal 37, n.º 4 (1 de dezembro de 2006): 1091. http://dx.doi.org/10.2307/20478140.

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16

Zhang, Hao, e Hongyan Zheng. "The Application and Teaching of Digital Technology in Printmaking". Security and Communication Networks 2022 (19 de janeiro de 2022): 1–7. http://dx.doi.org/10.1155/2022/3271860.

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Along with the popularization of digital technology, artists began to use digital technology as a technological means to make more attempts in the creation of print art, thereby breaking through the formal constraints. The diversity of information technology inspires artists’ creative inspiration and makes the development of art move in a more varied and diversified direction. The new vision brought by digital technology, digital printmaking, comprehensive printmaking, and digital technology in the creation of comprehensive printmaking and its positive influence on the future development of printmaking provide favorable conditions for the development of diversified art. This paper takes the application of digital technology in the creation of comprehensive prints as a research point and separately expounds the development and application background of digital computer technology and the development history of traditional prints, thereby extending to the modern combination of these two techniques and then transitioning to today’s synthesis print. Based on the background of modernity and history, this article analyzes the classical language forms and characteristics of traditional printmaking to comprehensive printmaking from the theory and practice. And based on the techniques of software plate-making technology, it has been expanded to a series of specific measures such as materials and mechanisms. The research in this paper shows that artists can use digital prints to create high-impact works of art with higher quality and more artistic content.

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17

Kreneck, Thomas H., e Ron Tyler. "Prints and Printmakers of Texas: Proceedings of the Twentieth Annual North American Print Conference." Journal of Southern History 64, n.º 4 (novembro de 1998): 730. http://dx.doi.org/10.2307/2587530.

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18

Cummins, D. Duane, e Ron Tyler. "Prints and Printmakers of Texas: Proceedings of the Twentieth Annual North American Print Conference". Western Historical Quarterly 29, n.º 2 (1998): 260. http://dx.doi.org/10.2307/971368.

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19

Speck, W. A. "English Prints and Portraits 1600–1832". History 72, n.º 235 (junho de 1987): 284–86. http://dx.doi.org/10.1111/j.1468-229x.1987.tb01466.x.

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20

Brückner, Martin. "Map, Paper, Prints". Winterthur Portfolio 56, n.º 4 (1 de dezembro de 2022): 185–202. http://dx.doi.org/10.1086/725137.

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21

Hults, Linda C., e Giulia Bartrum. "German Renaissance Prints, 1490-1550." Sixteenth Century Journal 28, n.º 3 (1997): 853. http://dx.doi.org/10.2307/2543009.

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22

Silver, Larry. ":Rembrandt’s Religious Prints". Sixteenth Century Journal 50, n.º 2 (1 de junho de 2019): 615–17. http://dx.doi.org/10.1086/scj5002148.

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23

Otter, Samuel, e Robert K. Wallace. "The "Material Autobiography" of Melville's Print Collection Online". Leviathan 25, n.º 2 (junho de 2023): 86–106. http://dx.doi.org/10.1353/lvn.2023.a904376.

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Abstract: Melville's Print Collection Online ( MPCO ) is a digital humanities website designed to exhibit, document, and interpret the 420 prints we know (so far) that Melville collected. Three of eight planned chapters have been completed and are available on the site. MPCO offers high-resolution images and discussions of the prints in relation to art history; to Melville's fiction, poetry, journals, and correspondence; and to his life as author and collector. In this essay we consider Melville's acquisition of prints as what Susan M. Pearce, in On Collecting , terms an "act of imagination"; we describe the structure of the site; and we analyze three examples that convey MPCO 's range of images and approaches, the discoveries that the Web has enabled, and the interpretive possibilities that the site affords. These examples span a range of techniques (line engraving, lithograph, mezzotint) and topics (Greek tragedy, topographical view, biblical miracle) and relate to issues prominent in Melville's writing and life: the reach of imagination, the geography of politics, and the intimacies of absence and presence.

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24

Kinsey, Joni L., e Ron Tyler. "Prints of the West". Journal of the Early Republic 15, n.º 4 (1995): 708. http://dx.doi.org/10.2307/3124051.

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25

Bodnar, Ivanna, e Hanna Bondarchuk. "FORENSIC IDENTIFICATION BY LIP PRINTS. HISTORY, METHODS, THE QUESTION THAT ARE SOLVED". Forensic-medical examination, n.º 1 (5 de agosto de 2022): 4–17. http://dx.doi.org/10.24061/2707-8728.1.2022.1.

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For almost a century, methods of identifying a person by prints have been recognized as a reliable tool for forensic experts in the world. Cheiloscopic examination is used to solve a wide range of issues facing the investigation, especially in cases of absence of other material evidence. The article reveals the historical stages of development and improvement of methods of examination of lip prints, a list of issues that can be solved using such methods. Materials of the practical achievements of world scientists in the application of cheiloscopic research methods are provided.

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26

James, Sara Nair, Mark Roskill e John Oliver Hand. "Hans Holbein: Paintings, Prints, and Reception". Sixteenth Century Journal 35, n.º 1 (1 de abril de 2004): 318. http://dx.doi.org/10.2307/20476934.

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27

Salman, Jeroen. "An Early Modern Mass Medium: The Adventures of Cartouche in Dutch Penny Prints (1700–1900)". Cultural History 7, n.º 1 (abril de 2018): 20–47. http://dx.doi.org/10.3366/cult.2018.0157.

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This article demonstrates the social and cultural significance of eighteenth and nineteenth century Dutch penny prints – one of the first mass media in European history. By using a combination of media and cultural historical approaches (Henry Jenkins, John Fiske) and an anthropological perspective (Eric Hobsbawm) it asserts that, contrary to common notion, penny prints were not just part of a commercialized, conformist mass culture, but existed as a form of social resistance and protest as well. This new insight is based on the analysis of the adaption and publication history of the eighteenth-century French criminal hero Louis Dominique de Cartouche, the equivalent of the English highwayman. Give the multiple, multilingual representations of this narrative – in pamphlets, songs, biographies, prints, paintings and movies – the pervasiveness of Cartouche can be regarded as a remarkable cultural phenomenon. This interdisciplinary and long-term analysis also demonstrates that popularization processes were more dynamic and multifaceted than often perceived. In the case of penny prints about Cartouche more conformist periods alternated with more rebellious periods.

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28

O'Brien, John, Mark E. Neely, Harold Holzer e Gabor S. Boritt. "The Confederate Image: Prints of the Lost Cause." Journal of Southern History 55, n.º 1 (fevereiro de 1989): 131. http://dx.doi.org/10.2307/2209743.

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Guo, Nanyan. "A Flow of Christian Images from the Shanghai Jesuits to the Paris Foreign Missions in Japan: Imitation, Alteration, and Returning to the Roots". Journal of Jesuit Studies 10, n.º 4 (10 de agosto de 2023): 605–39. http://dx.doi.org/10.1163/22141332-10040005.

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Abstract The Jesuit Adolphe Vasseur created more than 160 woodblock prints at the orphanage of T’ou-se-we in Shanghai, China, combining Western images of biblical stories with traditional Chinese styles and symbols, aiming to help familiarize the Chinese people with Christian concepts. Vasseur’s images were adopted and transformed through lithographic publications and woodblock prints by the Paris Foreign Missions (mep) in Japan from the 1860s to the 1870s under Fr. Marc Marie de Rotz (1840–1914). Focusing on ten woodblock prints, often referred to as the “De Rotz Prints,” which were made based on Vasseur’s images and altered by adding Japanese symbols, this paper will show how Vasseur’s images were modified from a Chinese to Japanese context, primarily by adapting to the situation of Japanese Christians, who were emerging from more than two centuries of persecution and underground worship. This article is part of the special issue of the Journal of Jesuit Studies, “Jesuits in Modern Far East,” guest edited by Steven Pieragastini.

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30

Cary, Louise D. "Hamlet Recycled, Or the Tragical History of the Prince's Prints". ELH 61, n.º 4 (1994): 783–805. http://dx.doi.org/10.1353/elh.1994.0032.

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Walker, Joan M., e Ronel Namde. "The History and Chemistry of Platinum-toned Salted Paper Prints". Journal of the American Institute for Conservation 59, n.º 3-4 (3 de outubro de 2019): 194–210. http://dx.doi.org/10.1080/01971360.2019.1612724.

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32

Diment, Judith A., e Linda Newington. "Botanical prints and drawings at the British Museum (Natural History)". Art Libraries Journal 10, n.º 1 (1985): 5–28. http://dx.doi.org/10.1017/s0307472200004053.

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This paper describes the botanical prints and drawings collection in the Botany Library, Department of Library Services, British Museum (Natural History). A short history of the collection is followed by details of acquisitions policy, curation, conservation and uses made of the collections. A selected bibliography of works, including those relating specifically to the Collections complete the paper.

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Bello, R. W., D. A. Olubummo, Z. Seiyaboh, O. C. Enuma, A. Z. Talib e A. S. A. Mohamed. "Cattle identification: the history of nose prints approach in brief". IOP Conference Series: Earth and Environmental Science 594 (18 de dezembro de 2020): 012026. http://dx.doi.org/10.1088/1755-1315/594/1/012026.

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Secká, Milena. "Educational Prints at the Náprstek Museum". Annals of the Náprstek Museum 39, n.º 1 (2018): 75–94. http://dx.doi.org/10.1515/anpm-2018-0006.

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Collections of the National Museum – Náprstek Museum of Asian, African and American Cultures include a set of 355 educational images printed on cloth and hand-coloured. They were published by the Working Men’s Educational Union based in London to accompany public lectures for British workers, and purchased by Vojta Náprstek in 1862 during his visit to the World Exposition in London for an industrial museum he had planned. Topics of the prints come from natural sciences (astronomy, anatomy, fauna, flora, physics, geology) as well as humanities (archaeology, ethnology, history, theology). A collection of this size has not been preserved anywhere else in the Czech lands.

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Loh, Eva-Maria, Sigrid Eyb-Green e Wolfgang Baatz. "The Development of Mounts and Mounting Techniques at the Albertina in Vienna from 1805 to 2018". Restaurator. International Journal for the Preservation of Library and Archival Material 40, n.º 3-4 (18 de novembro de 2019): 141–71. http://dx.doi.org/10.1515/res-2019-0026.

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Abstract This article is part of the oral history research project at the Academy of Fine Arts Vienna and discusses the development of mountings and passe-partouts at the Grafische Sammlung Albertina from 1805 until 2018. Based on the history of passe-partouts, the professionalisation of paper conservation in Vienna can be described. Passe-partouts of drawings and prints were chronologically classified. The collection history, the appearance of the passe-partouts as well as inventory catalogues and collection stamps served to classify the passe-partouts. The prints were mounted on back mounts at the beginning of the 19th century, after 1822 they were stored in albums. Since 1900, prints were removed from the albums, from nationalisation in 1919 onwards, they were set in passe-partouts. The drawings, however, were always kept in passe-partouts. At the beginning, these only consisted of back mounts. In the 1860ies, they were supplemented by a window mount. The hinged window mount that appeared in the 1960ies has been complemented with a cover sheet since the 1990ies.

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36

Czarski, Bartłomiej. "The Poetic Design of the First Cracovian Prints". Acta Academiae Artium Vilnensis, n.º 101-102 (30 de setembro de 2020): 69–97. http://dx.doi.org/10.37522/aaav.101.2021.65.

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During the first decades of its existence, the printed book slowly developed its own shape and gradually became more distinct from manuscripts. Title page was a particularly important moment in this process. This completely new element came in various forms and featured various content. In addition to the title, author’s name and publishing address, it often contained various poems, contained in the form of epigram. They acted mostly as an advertisement for the publication itself. Sometimes they also contained a praise for the book’s author. It would also be common for these short verses to be enriched with various graphic elements; it is worth noting that this took place even before the publishing of Emblematum liber by Andrea Alciato. This paper focuses specifically on the poems found on the oldest title-pages of Cracovian prints and discusses the context in which they appear as well as the functions they perform. A particular interest is put on the prints published by Florian Ungler, but the works of other print- ers such as Kasper Hochfeder and Jan Haller are also mentioned.

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Arnade, Peter, e Natalie M. Orenstein. "Pieter Bruegel the Elder: Drawings and Prints". Sixteenth Century Journal 34, n.º 1 (1 de abril de 2003): 297. http://dx.doi.org/10.2307/20061406.

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Donahue-Wallace, Kelly. "Picturing Prints in Early Modern New Spain". Americas 64, n.º 3 (janeiro de 2008): 325–49. http://dx.doi.org/10.1353/tam.2008.0038.

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In an anonymous circa 1754 portrait (Figure 1), fray Francisco de Santa Ana stands in a flowered crown and the brown and white habit of the Carmelite first order. The image commemorates the occasion of his final vows as a mendicant friar, and he is a rare if not unique example of a monk within the genre of the so-called crowned nuns. With eyes cast down, fray Francisco appears next to a table bearing an hourglass, skull, and book, symbols of his devotion and of his meditation on his own mortality. Painted as if tacked to the wall beside him is a print of the Virgin Mary, representing the Carmelite order's fervent Marian devotion. While she seems to gaze down at her follower, fray Francisco humbly looks away.

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Briggs, Asa. "Review: Reading Popular Prints, 1790–1870". Literature & History 7, n.º 2 (setembro de 1998): 109–10. http://dx.doi.org/10.1177/030619739800700219.

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Jr., Noble E. Cunningham, e Harold Holzer. "Washington and Lincoln Portrayed: National Icons in Popular Prints." Journal of Southern History 61, n.º 1 (fevereiro de 1995): 191. http://dx.doi.org/10.2307/2211424.

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Bouson, J. Brooks. "Life Prints: A Memoir of Healing and Discovery (review)". Biography 24, n.º 4 (2001): 963–67. http://dx.doi.org/10.1353/bio.2001.0080.

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Gomis, Juan, e Jeroen Salman. "Tall Tales for a Mass Audience". Quaerendo 51, n.º 1-2 (7 de maio de 2021): 95–122. http://dx.doi.org/10.1163/15700690-12341484.

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Abstract In this article we compare Dutch penny prints with Spanish Aleluyas, focusing on three specific functions of this premodern mass medium: popularising and adapting theatre plays; standardising (folk/fairy) tales; adapting and popularising literary classics. Via these functions we address the discrepancies between the two countries considering the materiality of the penny prints, the growth of the production, but also the transition from a predominantly religious, towards a more profane content. Striking was the lack of educative and edifying initiatives in Spain in contrast to the Dutch ideological strategies. We observed some interesting similarities as well. Although in both countries penny prints often conformed to current ideologies and institutions, there were instances in which penny prints and aleluyas were used as instruments of social satire or resistance. A few similar strange twists in the adaptations of literary classics, seem to suggest some form of transnational exchange or at least imitation.

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Walsh, Victoria. "Reordering and Redistributing the Visual: The Expanded ‘Field’ of Pattern-Making in Parallel of Life and Art and Hammer Prints". Journal of Visual Culture 12, n.º 2 (agosto de 2013): 222–44. http://dx.doi.org/10.1177/1470412913492398.

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In August 1954, the artist–photographer Nigel Henderson and the sculptor Eduardo Paolozzi set-up Hammer Prints Ltd to sell and promote their designs for wallpapers, curtains and ceramics. Marginalised by art history as a category of applied arts, Hammer Prints was, however, inextricably tied into the ideas and experimental cross-media work of both artists at this time. This article resituates the ethos and designs of Hammer Prints within the wider aesthetic concerns and strategies of the Independent Group which the two artists were engaged with and, in particular, to the reordering of the visual first proposed by the artists in collaboration with the architects Alison and Peter Smithson in the seminal exhibition Parallel of Life and Art (Institute of Contemporary Arts, 1953), the year before Hammer Prints was established. As the article argues, a more complex account of Hammer Prints exists once it is reconnected to both artists’ interest in gestalt principles of perception, contemporary theorisations of ‘pattern’, and ontological questions of art posed by Malraux’s idea of the ‘imaginary museum’ and Duchamp’s idea of the ‘portable museum’. It concludes by locating the designs of Hammer Prints within the new field of communication theory developed by Gregory Bateson.

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Grave, Johannes. "Ideal and History. Johann Wolfgang Goethe's Collection of Prints and Drawings". Artibus et Historiae 27, n.º 53 (1 de janeiro de 2006): 175. http://dx.doi.org/10.2307/20067115.

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Alexander, D. "Prints after John Collet: Their Publishing History and a Chronological Checklist". Eighteenth-Century Life 26, n.º 1 (1 de janeiro de 2002): 136–46. http://dx.doi.org/10.1215/00982601-26-1-136.

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Arutyunyan, Julia I. "Maps and Guidebooks: 17th-Century Prints in Modern Art History Studies". Actual Problems of Theory and History of Art 12 (2022): 224–35. http://dx.doi.org/10.18688/aa2212-03-15.

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De Luise, Alexandra. "Ploos van Amstel and Christian Josi; two generations of printmakers working in the artful imitation of drawings". Quaerendo 25, n.º 3 (1995): 215–26. http://dx.doi.org/10.1163/157006995x00035.

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AbstractOne of the most notable works in the history of color printing is, Collection d'Imitations de dessins, d'après les principaux maîtres hollandais et flamands commencée par C. Ploos van Amstel, continuée et portée au nombre de cent morceaux, published in London in 1821. The work's importance lies in its 104 prints, which are facsimiles of drawings and watercolors by Flemish and Dutch artists of the seventeenth century. The prints so carefully reproduce the chalk and brush lines of the originals in a mechanically printed form, that they are frequently mistaken for drawings. The prints pose various questions as to who Ploos and Josi were; the role that they and their assistants played in the occupation of reproducing prints from drawings during this active period of printmaking experimentation, and the achievement that this publication represented in the nineteenth century, at a time when Holland was overcome by the adversities of war.

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Maniura, R. "Early Relief Prints: Beyond the Aesthetic". Oxford Art Journal 34, n.º 1 (3 de fevereiro de 2011): 142–46. http://dx.doi.org/10.1093/oxartj/kcr008.

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Shattock, Joanne. "Reading Books and Prints as Cultural Objects". Media History 27, n.º 2 (18 de março de 2021): 266–67. http://dx.doi.org/10.1080/13688804.2021.1902113.

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Zervigón, Andrés Mario. "The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room". October 150 (outubro de 2014): 27–48. http://dx.doi.org/10.1162/octo_a_00199.

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The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the history of photography, or more specifically the history of its practical use. Displayed on sleek scaffolds that efficiently expanded the available exhibition surface, these prints hung in what may best be described as modernist salon style meets the printed page. A lower register seems strung near thigh level while a second row pushed toward the ceiling. The left-page/right-page and vertical/horizontal dialogues this arrangement afforded encouraged viewers to compare photographs taken from the spheres of science and industry to avant-garde prints inspired by the former. Above this series of exchanges ran a prominent sans-serif caption, a punning query that framed the entire show: “Where is photography's development headed?”

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