amily. The woodcuts and etchings on display are by German and Italian late Gothic and Renaissance artists. They show how the character of the pictures changes over time and how they develop an astonishing variety. Also in the pictures we find numerous small putti, droll little children with plump cheeks and curls, which count as childlike companions of the saints to the discoveries in the graphic cabinets of the Kunstmuseum Basel.

occupied with considering the female figure from every possible perspective – physically, culturally, historically, and personally. This exhibition highlights Smith’s passion for paper as she has explored aspects of femininity. This exhibition was organized by the Oklahoma State University Museum of Art and guest curated by Wendy Weitman.

y along economic, racial, political, religious, and gender lines.

The “series of prints of whimsical subjects” changed everything. As Robert Flynn Johnson wrote, “Los Caprichos stands as the greatest single work of art created in Spain since the writings of Cervantes and the paintings of Velázquez, over one hundred fifty years earlier. These astonishing prints have cast a dark shadow of inspiration over generations of artists since their creation. Eugene Delacroix owned a copy of all eighty plates, and their influence is evident in the socially conscious art of Honoré Daumier and Edouard Manet, among others.” And the impact continues to this day. Emily Lombardo (1977) is an American artist who has lived and worked in Boston for over fifteen years and currently resides in Brooklyn, New York. She received a BFA from The Massachusetts College of Art and Design, Boston (2002) and an MFA from Tufts University (2013).

Her work is in the collection of the Museum of Fine Arts in Boston, The Boston Public Library, the Mead Art Museum at Amherst College and the Academy Art Museum, Easton, Maryland. She has taught printmaking since 2011 and has won numerous awards. Lombardo applies her knowledge of sculpture and print across a wide range of conceptual projects. She engages with appropriative art practices as a mode of investigating personal and cultural identity and makes conceptual, personalized work that investigates archetypes of cultural identity.

Lombardo applies her knowledge of sculpture and print across a wide range of conceptual projects. She engages with appropriative art practices as a mode of investigating personal and cultural identity and makes conceptual, personalized work that investigates archetypes of cultural identity.

The Academy Art Museum recently acquired Lombardo’s The Caprichos series for the Permanent Collection. The edition was published by Childs Gallery and printed at The Center for Contemporary Printmaking (Norwalk, CT) by printer Paul DeRuvo. The Art Gallery of Ontario loaned the entire set of Goya’s Caprichos so that we can exhibit the two series of prints in parallel. A publication will accompany the exhibition. The exhibition is supported by the Childs Gallery, Boston.

so to be worthy of display. Historical bindings are also of considerable interest and are regularly exhibited in museums and libraries.

Books – whether finely-bound of for everyday use – are not the only bookbinding artefacts to have historical or artistic value. Other objects related to bookbinding are also very important because they can help us to understand more fully the history of written and print culture. The machines and tools used by bookbinders in their workshops are of particular interest, as are gilding tools which offer fine examples of artistic engraving. Many aspects of the non-material heritage of bookbinding, such as technological change, techniques and skills, are also of great interest.

The conference will consider the full range of material and non-material heritage of bookbinding and its place in printing museums:

– historical aspects of bookbinding: research concerning the artefacts and techniques of craft and industrial bookbinding,

– contemporary bookbinding: practical research about new techniques and developments; the role of museums in contemporary bookbinding,

– conservation techniques and issues: preserving and restoring bookbindings in museum collections,

– the materials and tools of bookbinding,

– practical workshops and other forms of mediation as means of preserving and transmitting of craft skills and non-material heritage to future generations,

– the role of the workshop in museums: for public demonstrations, as an archive, and for bibliographical conservation and restauration.


Speakers will include:

José Bermejo, Imprenta municipal – Artes del libro, Madrid, Spain
Bibliotheca Wittockiana, Musée de des arts du livre et de la reliure, Brussels, Belgium.
Pascal Fulacher, Atelier du livre d’art et de l’estampe, Imprimerie nationale, France
Maria-Luiz Lopez-Vidriero, Royal Library, Madrid
Katharina Mälher, Herzog August Library, Wolffenbüttel, Germany
Rosita Nenno, Offenbach, Germany
Aitor Quiney, National Library of Catalonia, Barcelona, Spain
Stefan Soltek, Klingspor Museum, Offenbach, Germany
Elke Van Herck, Plantin-Moretus Museum / City of Antwerp, Belgium

Online registration for the event and full details of the programme will be published soon. www.aepm.eu/conferences/

n an international initiative to commemorate the 550th anniversary of Gutenberg’s death and celebrates the relaunch of the IES Annual Lecture in the History of the Book. It is part of the international 2018 Gutenberg Year, https://gutenberg2018.eu.

The event portfolio includes:

"IES Annual Lecture in the History of the Book + Keepsake Printing"
This event gives participants the rare opportunity to learn how Alan May and Martin Andrews reverse-engineered and rebuilt Gutenberg’s invention, and then stand in Gutenberg’s footsteps to print a take-away keepsake themselves on the replica Gutenberg Press. Raphaële Mouren (Warburg) will respond. The event is free, including keepsake printing and wine reception, with a recommended donation of £10 to benefit St Bride Library.

"Masterclass (graduate students/ECRs)"
This three-part, hands-on masterclass offers graduate students, postdocs, early career researchers the unique opportunity to learn about the history of the printing press itself by examining historical relief printing presses and reconstructions covering the hand-press period, 1450-1830. Participants must commit to attending all sessions and writing a blog post about the training. Eligibility: current PhD students and early career researchers (up to 10 years post-PhD)

"A Selection of Incunabula at Senate House Library"
The reception coincides with a private view of SHL's earliest printed books. Highlighting some of its rarest holdings allows SHL to promote its collections to a wider public and new user constituency and advocate IES's object-based teaching philosophy.

"School Visit"
Fifteen Year 12 History students (ages 16-17) from St Marylebone School will learn about the history of printing. They will have a hands-on workshop at the Dürer Press, print a keepsake, and visit the Durning-Lawrence Library to explore early printed travel accounts from Senate House Library Special Collections.

Institute of Chicago before making his way to Philadelphia, where he ultimately forged a career as both a painter and a graphic artist.

In 1937, Thrash signed on for employment with the Federal Art Project’s Fine Print Workshop. There, while working with fellow artists Hugh Mesibov and Michael Gallagher, he began to experiment with a new approach to intaglio printmaking, which today is known as the carborundum mezzotint process. With its broad tonal range, the new process was ideally suited to the sensitive portrayals of Black life for which Thrash would become known.

Dox Thrash, Black Life, and the Carborundum Mezzotint brings together numerous examples of the experimental process by Thrash and other colleagues working in the Fine Print Workshop. Also on view are works by Thrash in other print mediums, as well as watercolors and drawings, all of which powerfully document the artist’s intimate, invested engagement with African American culture in the middle decades of the twentieth century.

mingly pulled from the quotidian world of fin-de-siècle Paris. Alongside friends and colleagues like Claude Monet, Edgar Degas, Berthe Morisot, Alfred Sisley, Mary Cassatt and Gustave Caillebotte, Renoir created the visual imagery we most associate today with avant-garde Parisian art. If you think about bearded, top-hatted men dancing happily with cherubic, rose-cheeked women as classically Impressionistic, you can thank Renoir for cementing that image in your mind’s eye.

on the future.

The presentation Masterworks of Architectural Drawing provides new insights into this fascinating genre: a selection of around 120 highlights from the Albertina’s important collection of architecture-related works covers a period running from the Late Gothic and the Renaissance to the Baroque and Classicism, to Historicism and Art Nouveau, and continuing all the way to the architecture of the present day. World-famous drawings by Gian Lorenzo Bernini, Theophil von Hansen, Adolf Loos, Frank Lloyd Wright, Clemens Holzmeister or Hans Hollein and many others reveal the essence and unique qualities of architectural sketches while also showing painters’ compositional takes on and naturalistic perceptions of buildings, architectural ensembles, and cities.

icea im Kontext: Text und Bild als Medien des Kultur- und Wissenstransfers zwischen europäischen und orientalischen Kulturräumen um 1600"

funded by the Deutsche Forschungsgemeinschaft


PROGRAM

Thursday, 11 January

9.30
Welcome and Introduction
Eckhard Leuschner and Gerhard Wolf

10:00
Per la biografia di G. B. Raimondi
Angelo Michele Piemontese (Rome)

Coffee Break


Chair: Peyvand Firouzeh

11:15
The Road to Rome: Patriarch Ignatios Ni'matullah Between Faith and Benefit
Hazim Alabdullah (Florence)

12:00
'Come il cavallo al corso del Palio' – The Production of the Arabic Gospels
Caren Reimann (Würzburg)

Lunch Break


Chair: Eva-Maria Troelenberg

15:00
Vatican Censorship and the Printing of the Gospels in Arabic
Dennis Halft (Beer-Sheva)

15:45
Leonardo Parasole and the Woodblocks for the Medici Press
Evelyn Lincoln (Providence)

Coffee Break


Chair: Marco Musillo

17:00
"Resta il favellare solo essere proprio dell'homo": Giovanni Battista Raimondi's Philosophy of Language
Mario Casari (Rome)

17:45
Raimondi's Lexicons: Between Learning and Editing Instruments
Sara Fani (Florence)


Friday, 12 January

Chair: Ursula Rautenberg

9:00
Amira's Grammatica Syriaca: Genesis; Structure and Perspectives
Margherita Farina (Paris)

9:45
G. B. Raimondis Übersetzungstätigkeit im globalen Kontext der Frühen Neuzeit um 1600 (mit besonderem Fokus auf BMLF, Or. 463: ff. 212-259)
Yahya Kouroshi (Würzburg)

Coffee Break


Chair: Pavla Langer

11:00
The First Edition of Bernardino Amico's Trattato delle Piante et Imagini de i Sacri
Edificii di Terra Santa (Rome 1609/10) and Its Historical Context
Else Schlegel (Berlin/Stuttgart)

11:15
Bernardino Amico, The Medici Press and Treatises on the Holy Land around 1600
Annette Hoffmann (Florence)

11:45
"Acciò le sacre ceremonie si osservino uniformamente in tutte le chiese": Images of Catholic Liturgy in Raimondi's 'Pontificale Romanum' (with an Outlook on Their Reuse in Picart's 'Religious Ceremonies of the World')
Eckhard Leuschner (Würzburg)

12:30
Conclusions
Gerhard Wolf

12:45
Final Discussion

LOCATION
Kunsthistorisches Institut in Florenz – Max-Planck-Institut
Palazzo Grifoni Budini Gattai
Via dei Servi 51, 50122 Florence / Italy

CONTACT
Annette Hoffmann
hoffmann@khi.fi.it

elier 17 from Paris to New York, American artists were becoming familiar with a wide range of printmaking techniques. By the latter twentieth century, printmakers such as Tatyana Grossman, founder of ULAE (Universal Limited Art Editions), and June Wayne, who founded the Tamarind Workshop in Los Angeles, greatly enlarged and successfully marketed the printmaking enterprise.

These new-style printmakers began to take on some of the responsibilities of publishers and dealers, helping to streamline the production and distribution of artists’ prints. Artists formerly rooted in the solitary studio practices of Abstract Expressionist painting began to collaborate regularly with master printmakers (some, like Robert Motherwell, even going as far as to establish their own workshops). In California, the emergence of collaborative presses helped to rescue lithography from virtual extinction—which in turn made abstract prints readily available to American collectors.

The works in American Abstraction: The Print Revival of the 1960s and '70s, most of which are drawn from the splendid gift of Judith and Stephen Wertheimer to the Bruce Museum, include prints produced by Ernest de Soto of The Collectors Press Lithography Workshop and Irwin Hollander of Hollander’s Workshop. From vibrant biomorphic forms and primitive marks to lively calligraphic gestures and bold color-field patterning, the works in American Abstraction suggest the evolution of abstract art in printmaking during two exciting decades of the post-war moment.

This exhibition was curated by Elizabeth Smith, 2017-18 Zvi Grunberg Resident Fellow, and underwritten by the Connecticut Office of the Arts and The Charles M. and Deborah G. Royce Exhibition Fund.