The printmaking community in Portland integrates tradition, innovation, and technology, while also promoting social awareness and sustainability. Our relationships with industry, community development, and social collaborations point to progress as we evolve with our environments and maintain relevance in the changing currents of contemporary society. Printmakers and printmaking communities around the world are in flux. We are moving forward, adapting and responding to the changing times while honoring our rich history and foundations in printmaking.

Revolution under a King: French Prints 1789-92
UCL Art Museum
Monday 11 January – Friday 10 June 2016

UCL Art Museum, University College London, South Cloisters, Wilkins Building, Gower Street, London, WC1E 6BT

Revolution under a King features a selection of prints from the early, highly volatile years of the French Revolution, curated by Emeritus Professor David Bindman and Dr Richard Taws, in a collaboration between UCL Art Museum and UCL History of Art. It will run from 11 January to 10 June 2016 and will be open to the public Mon-Fri, 1pm-5pm.

The French Revolution was a major series of historical events but also an important media event. Printed information was communicated extensively throughout Europe and the combination of image and text, employed in newspapers and graphic works, made powerful use of satire and caricature. It is however often overlooked that the Fall of the Bastille was in fact followed by three years in which the king of France still nominally presided over the dissolution of the old feudal order. This exhibition traces the early years of the Revolution from the ‘June Days’ of 1789 to the eventual deposition of Louis XVI in 1792. The exhibition will consist of vivid coloured prints of major events from the period, and a selection of medals, including one made from ‘chains of servitude’ supposedly found in the ruins of the Bastille.

For more information, please visit: http://www.ucl.ac.uk/museums/uclart/visit/exhibitions/Revolutionunderaking

17 woodcuts laced with satire & brimming with an intoxicating authenticity, from a life lived in rural PA. If R. Crumb is to Wes Craven then Patierno is to Hitchcock in the measured unsettling of his otherwise wholesome Americana. He's a keen observer and a masterful composer at "the funnel of art history" & this collection is true PATIERNO.

Robert Patierno’s works reside in the collections of the Frans Masereel Centrum Pour Grafiks, Kasterlee, Belgium; the Erie Art Museum; the Lancaster Museum; the Southern Alleghenies Museum of Art in PA; the US Department of State, Art Bank & those of many universities & private collections.
As a founder of the Pennsylvania College of Art & design, Patierno spent more than 2 decades developing its Fine Arts Department as well as chairing it before leaving in 2003 to focus on his studio practice. He continues to guide young artists in his role as Adjunct Assistant Professor in the Art Department at Gettysburg College.

PATIERNO is Totemic17’s 4th project & our first solo artist project.

Celebrating Print, the magazine on Central and Eastern European printmaking, participates at the Book and Trade Fair of the 104th Annual Conference of the College Art Association in Washington, DC. I would like to invite you to stop by Table #533 to check the magazine, and join two talks on Central and Eastern European printmaking tradition.

venue
Washington Marriott Wardman Park Hotel, Exhibit Hall C and B South, Exhibit Level, 2660 Woodley Road NW, Washington, DC 20008

dates of the Book and Trade Fair
Thursday & Friday, February 4-5, 9:00 AM-6:00 PM
Saturday, February 6, 9:00 AM-2:30 PM

Celebrating Print Magazine Talks:
Thursday, February 4, 2:30 PM (15 min), Table #533
>> Passage of Time, in Prints by Jiri Anderle
Friday, February 5, 2:30 PM (15 min), Table #533
>> Fantastic and Surreal in Central European Prints

The Nature of William S. Rice: Arts and Crafts Painter and Printmaker offers a rare glimpse into the private world of William S. Rice (1873–1963), an artist and avid naturalist known for his ability to refine nature to its simplest forms. With an illustrative sensibility, the artist took a special interest in Japanese block prints and ukiyo-e (“pictures of the floating world”) and transformed the Japanese polychrome technique into graphic distillations of California’s untrammeled scenery, favoring strong, stylized lines and planes of pure color. Although particularly well known for his block prints and as author of two books for students on the process, he was also an accomplished watercolorist and often traveled to sketch on site in the peace of nature, or as he put it, in the “glorious woods,” producing evanescent visions of Santa Cruz, Stockton, and Yosemite, among other sites. The Nature of William S. Rice: Arts and Crafts Painter and Printmaker sheds light on many of the artist’s achievements, including several never-before-exhibited pieces capturing the pristine California landscape before urban development.

This month-long event will include juried print exhibitions, artist talks, signings and panels, and printmaking demonstrations at several Austin galleries and venues.

This series, published by David Krut Projects, arose from Kentridge’s production of the Shostakovich opera "The Nose" for the Metropolitan Opera in March 2010.

This display of colour printmaking in Germany spans the first attempts to incorporate colour into woodcuts in the early 1400s (before Gutenberg invented movable type in about 1450) through the revival of classical forms and learning in the Renaissance and the Reformation (the religious movement that led to the creation of Protestantism) of the 1500s, up to the decline of woodcut around 1600. It shows that colour printing was integral to the emerging aesthetic of the press in German Renaissance book, print and visual cultures. Early German colour prints are now considered rare because comparatively few impressions have survived. In their day, however, they were commonplace with thousands of them in circulation for uses as diverse as illustrating books to decorating furniture. This display is curated by Elizabeth Savage (British Academy Postdoctoral Fellow). It coincides with the publication of the first handbook of early colour-printing techniques, Printing Colour 1400–1700, which she edited with Ad Stijnman.

Beginning in the late 1970s, philanthropist Arthur Ross (1910–2007) avidly collected works of art by some of the most renowned printmakers of the last several centuries. Amassed by Ross for his eponymous foundation, the Arthur Ross Collection eventually came to comprise more than 1,200 17th- to 20th-century Italian, Spanish, and French prints of exceptional quality. Highlights include works by Francisco Goya, the first artist whom Ross collected; Giovanni Battista Piranesi’s views of 18th-century and ancient Rome, which reflect Ross’s love of classicism and the Eternal City; and Édouard Manet’s illustrations for Edgar Allan Poe’s famous poem The Raven.

Meant to Be Shared: Selections from the Arthur Ross Collection of European Prints is the inaugural exhibition of this superlative group of works in its new home at the Yale University Art Gallery. From the collection’s early years, The Arthur Ross Foundation frequently lent to academic institutions, museums, and cultural organizations, such that for three decades, some portion of the collection was accessible to the public. In this spirit, Meant to Be Shared travels to two university museums in 2017, and further exhibitions of selections from the collection are planned, illustrating both the high aesthetic quality and historical value of the works Ross acquired, as well as the expansive and visionary nature of his generosity.

Recueil expliqué par deux experts :


- Vanessa Selbach, chef du service de l’estampe ancienne et de la réserve, BnF

- Pascale Cugy, ATER à l’Université Rennes 2


Le département des Estampes et de la photographie possède de nombreux recueils de gravures de mode de la fin du XVIIe siècle ayant appartenu à de grands collectionneurs du temps de Louis XIV, le marquis de Beringhen (1651-1723) ou l’érudit Roger de Gaignières (1642-1716). Ces albums reflètent l’engouement qui traversa toutes les couches de la société pour ces estampes diffusant la mode parisienne et de flatteuses images de la cour du Roi Soleil. L’appropriation de ces gravures passe souvent par la mise en couleur des planches, voire leur embellissement par l’ajout de pièces de tissus, les transformant en véritables « estampes habillées ».