This is an emotive display by artist Frank Brangwyn (1916-1917) that reflects on the impact of war and the life-changing injuries servicemen can sustain. The display is a series of five lithographic prints illustrating the experience of a soldier in WWI who went to war, was blinded on the battlefield, hospitalised and then supported to learn a new trade. As an artist Frank Brangwyn always championed the ordinary person in his art, in this case a foot soldier. He produced a large number of lithographs, posters, rolls of honour and war bond stamps. In all he depicts working class heroes with dignity and respect, emphasised in the way the soldier often physically dominates the image. Although these lithographs are over 100 years old they remain as relevant now as the day they were created

Braille translations, iPad audio and a 3D printed representation of a key artwork accompany the lithographs to allow the blind and visually impaired community to interact fully with the display.

Frank Brangwyn in World War I: Art in Aid of Blind Soldiers and Sailors is located in the Fragile Art gallery on the first floor of Kelvingrove Art Gallery and Museum and will be on display until 25 June 2019. The lithographs were presented to Glasgow Museums by Frank Brangwyn and his printer, Reginald G. Praill of the Avenue Press, in 1944.

The exhibition reveals publishers' love for their trade, and how they have motivated artists, printers and designers in the past and present to create top-quality products.

THE BAROQUE BOOK: A HAPPY JOINT CREATION OF BALTHASAR MORETUS AND PETER PAUL RUBENS

The sixteenth century saw the emergence of many new types of book. This was due in large part to publishers such as the Plantin-Moretus family. They sought ways of recording and arranging new knowledge and ideas on paper. They thought about how texts could be typeset more effectively, the relationship between image and text, what a title page is and other questions. This was how the book originated largely in the form that we know it today.

Balthasar Moretus took the next major step in the development of book architecture: he started using leading artists for book design. For instance, he commissioned Peter Paul Rubens to provide the illustrations for his new prayer books. And the likes of Erasmus Quellinus, Karel de Mallery, Peeter de Jode and Abraham Van Diepenbeeck also supplied Balthasar Moretus with designs for title pages and illustrations.

THE EXHIBITION

The exhibition reveals publishers’ love for their trade, and how they have motivated artists, printers and designers in the past and present to create top-quality products. With a lecture series, workshops, and collection and workshop visits, the museum conveys this passion to its visitors. During Kunstendag voor Kinderen (Art Day for Children) and Dag van de wetenschap (Science Day), we invite designers and printers to work with the public.

The art of the Early Modern Netherlands was a global art in various dimensions. Paintings and prints were made for worldwide export; artists depicted foreign rarities; applied arts from Asia were imported on an industrial scale. Famous masters stood out for their interest in remote traditions, from Vermeer’s Chinese porcelain to Rembrandt’s Mughal miniatures and Rubens’s engagement with the worldwide Jesuit mission. This conference identifies and addresses some of the challenges and opportunities that Global Art History offers for the Low Countries.

Seating is limited. If you want to participate please contact m.a.weststeijn@uu.nl

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A sampling of papers on prints:

Rembrandt in Japan/Rembrandt on Japan
Akira Kofuku (National Museum of Western Art, Tokyo)

Flemish Prints in Mughal Albums
Ebba Koch (University of Vienna)

Did Rembrandt Copy those Mughal Miniatures for Himself – or for Someone Else?
Gary Schwartz (Independent Scholar, Maarssen)

The ‘Chinoiserie’ Prints of Pieter Schenk I and II as Sources for Dutch Interiors in Chinese Style, c. 1710-1740
Gert-Jan Janse (Utrecht University)

China and Europe, Original and Copy, Narrative and Fiction: Chinoiserie Prints at the Saxon Court
Cordula Bischoff (Technische Universität Dresden)

Vox Materia comprises a multi-part installation of sculpture and works on paper. Stemming from Maher’s consideration of a 12th-Century mermaid carving, this show meditates on voice and silence. The mermaid is a hybrid creature that transgresses boundaries between human and animal, and is often associated with traumatic loss of voice.

Maher deploys the mermaid not as a motif, but as an ambiguous and powerful conceptual tool to explore ideas of language, embodiment, agency, and autonomy.

The artist begins by adopting and documenting contorted postures; creating strained silhouettes that gesture towards a language of the body in extremis. Vox Materia exploits the tactile, contingent qualities of woodcut and watercolour to articulate amoebic, inter-elementary forms while hand-held sculptural forms create new material and corporeal vocabularies

This new work is presented alongside Cassandra’s Necklace (2012), Maher’s first live-action film, in which the mythical protagonist wanders an arid, glittering landscape in search of her voice, literally a necklace of unspeaking tongues.

Both bodies of work demonstrate Maher’s ongoing exploration of the burdens of silence and silencing in her recent practice.

Vox Materia was commissioned by The Source Arts Centre, Thurles, with support from Creative Ireland and Tipperary County Council.

"Pin-Ups: Toulouse-Lautrec and the Art of Celebrity" will be the first exhibition held at the National Galleries of Scotland devoted to the art of Henri de Toulouse-Lautrec (1864-1901).

Paris in the fin-de-siècle was known as the 'city of pleasure’; famed for its cabarets, dance halls and cafés. Most famous of all were the nightspots of the bohemian district of Montmartre, where Toulouse-Lautrec lived, worked and socialized, including the now legendary café-cabarets Le Moulin Rouge and Le Chat Noir. Pin-Ups: Toulouse Lautrec and the Art of Celebrity will focus on Toulouse-Lautrec’s lithographic posters, portfolio prints and illustrations which made stars of Montmartre’s venues and their entertainers - personalities such as Yvette Guilbert, Jane Avril and Aristide Bruant. Toulouse-Lautrec’s career coincided with a revolutionary moment in the history of western printmaking - the development of the poster as a means of mass-marketing – and lithography and poster-making were central to his creative process from his first experiments in the medium in 1891 until his death in 1901.

Around 75 works by Toulouse-Lautrec and his contemporaries will be on show, including prints by Pierre Bonnard, Théophile Alexandre Steinlen and Jules Chéret. British artists were equally attracted to the dynamic café culture of Montmartre and the exhibition will also showcase works by artists such as Walter Sickert, Arthur Melville, JD Fergusson and William Nicholson, among others.

Each semester, the School of History of Art welcomes a series of guest speakers and colleagues to present an hour-long seminar on their research. Seminars normally take place on Thursdays at 5.15pm in the Hunter Building Lecture Theatre on Lauriston Place, with a reception afterwards in the John Higgitt Gallery. Please note that the Watson Gordon Lecture takes place on 8th November 2018.

The events are a fantastic opportunity to hear from art historians, critics, curators and artists from the UK, Europe and beyond about their work. The seminars are free and everyone is welcome.

The 2018 Dürer Lectures will focus on the relationship between Dürer's work and armor, armaments, and military engineering. No advance booking is required.

10 a.m. Prof. Dr. Hiram Kümper, "Die bunte Welt des Tötens: aus Kriegskunst- und Ingenieurshandschriften der Dürer-Zeit"

11 a.m. Dr. Gerald Volker Grimm, "Messer, Dolch und Bauernwehr. Alltagswaffen im Werk Albrecht Dürers"

2 p.m., Dr. Jeannet Hommers, "Albrecht Dürers 'Landschaft mit Kanone': Waffentechnik – Natur – Kunst"

3 p.m., Dr. Raphael Beuing, "Völker und ihre Waffen bei Dürer und seinen Zeitgenossen"

4 p.m., Dr. Christof Metzger, "Manta, Manta oder: Für wen geht Dürers "Reiter" eigentlich ins Rennen?"

Jacques de Gheyn, a native of Antwerp, is one of the most original Netherlandish artists of the turn of the 16th and 17th centuries. His impressive oeuvre includes masterful expressive drawings as well as paintings and many prints.

In his youth, De Gheyn moved from Flanders to the Dutch Republic (Republic of the Seven United Netherlands) in the north. Between 1585–1587, he learned engraving inHaarlemin the workshop of Hendrick Goltzius, the most prominent Netherlandish graphic artist of his time. Later, he worked for publishers inAmsterdamand began to publish prints on his own in 1592. In his workshop, he cultivated excellent engravers, such as Zacharias Dolendo, Jan Saenredam, Robert de Baudous and Cornelis Drebbel. Gradually, he let them do increasingly more engraving work, while he engaged in creating designs for prints. In 1595, he married Eva Stalpaert, a young woman from a rich burgher’s family, and moved toLeidenwhere he managed to obtain many commissions from the university milieu. His graphic work was thematically varied, spanning religious subjects, allegory and morality, but he also had commissions from Prince Maurice of Nassau and did private portraits. Around 1600, De Gheyn moved to The Hague where he mostly painted and designed graphic sheets, abandoning engraving to his assistants for good.

Jacques de Gheyn still appeals to viewers with his gift as an observer, which is best reflected in his portraits and allegoric or genre scenes. He also has an attractive artistic vocabulary that alters the elegant stylization of mannerism with a simple depiction of reality. De Gheyn therefore heralds change in 17th-century Dutch art.

Schwarzenberg Palace, Hradčanské náměstí 2, Prague 1

From the founding of the Royal Society in 1660 images and objects were an important part of science. The first Fellows created images to communicate new discoveries to their colleagues around the world, as well as to the London public. They also used graphical methods to explore and develop their ideas. Many of these beautiful and striking pictures can still be found in the archives of the Royal Society. This exhibition will show that making and seeing such images were essential for science in the seventeenth century.

*To learn more about the exhibition, please click on the 'Extenral Link' below. Also accompanying the physical exhibition, Dr Sietske Fransen and Dr Katherine Reinhart in collaboration with the Royal Society have curated an online exhibition for Google Arts & Culture, which can be viewed at https://artsandculture.google.com/exhibit/zAKSobbRe6LpIA

Works on paper have been cherished in Old Lyme since the Art Colony’s heyday, when artists gathered around Florence Griswold’s parlor table to play the “Wiggle Game”—an amusement where one artist was challenged to finish a drawing of disparate lines begun by another. The Museum’s collection has grown in scope to include Connecticut artists working from colonial times to the present. Sections of this exhibition will make connections between artists across time who shared a love of putting ink, graphite, watercolor, and pastel on paper. In addition to showcasing artists at the Old Lyme Colony, collection highlights include significant gifts of works on paper by Fidelia Bridges, Thomas Nason, and Sol LeWitt.