Like many of his contemporaries, N.C. Wyeth executed commissions for popular print illustrations of historical Native life. This essay closely examines Wyeth’s work for Fenimore Cooper’s novel, The Last of the Mohicans, done in 1919. By putting Wyeth’s original paintings in dialogue with both their future print processes and collections of Native material culture, this essay considers how print media played a role in authenticating a generalized Native culture for American audiences, far removed from the material and social realities of Native communities.

The eighteenth-century Antwerp artist Antoine Overlaet, by profession a ‘broodbakker’, was also a meticulous and skilled draughtsman who specialised in copies of prints, primarily by seventeenth-century Dutch and Flemish artists, notably by Rembrandt (1606-1669) and after Rubens (1577-1640) and Teniers (1610-1690).1 In addition, he made careful copies of Wenceslaus Hollar (1607-1677) and some French artists including Jacques Callot (1592-1635) and Claude Mellan (1598-1688). Overlaet sought to mimic to an uncanny extent in pen and brown ink the distinct qualities of the techniques of drypoint, etching and engraving.

This book aims to shed light on the development of spatial and tridimensional drawing in American art, both in theory and in practice, from the 1960s through the 1970s. In the late 1960s, new drawing practices emerged in the visual arts with works that expanded the traditional definitions of the graphic medium. Drawing moved off paper and onto new types of surfaces such as walls and floors, as well as into natural and urban sites. It either involved direct marking on an architectural scale, or, more rarely, extended into the third dimension appropriating sculpture's materiality. This book is a dense and well documented research. It examines every aspect of the topic, from linguistic, sociological and aesthetic perspectives, with a thorough selection of works that reflects the sustained appeal of drawing to a variety of artists, who embraced its immediacy, mobility, and economy of means, and who were concerned with time, space, and the body.

Why did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today?

These are among the questions tackled in this volume-the first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national and transnational aspects of collecting practices. The global scope highlights cross-cultural connections and contributes to a new understanding of the place of prints, posters and ephemera within an increasingly international art world.

Orit Hofshi is one of a number of contemporary artists who embrace printmaking processes in the production of expansive works that are materially visceral, politically smart and emotionally compelling. In the vein of Anselm Kiefer, Christiane Baumgartner, Swoon and Nicola López, Hofshi employs the tools and techniques of relief printmaking and matrices on an expansive scale, and like them she uses her work to address the moral and political complexities of her cultural inheritance. For Hofshi as an Israeli, this encompasses not just ethnic conflict but the fundaments of land, water and time.

In the late medieval and Renaissance period, paper transformed society—not only through its role in the invention of print but also in the way it influenced artistic production. The Art of Paper tells the history of this medium in the context of the artist’s workshop from the thirteenth century, when it was imported to Europe from Africa, to the sixteenth century, when European paper was exported to the colonies of New Spain. In this pathbreaking work, Caroline Fowler approaches the topic culturally rather than technically, deftly exploring the way paper shaped concepts of authorship, preservation, and the transmission of ideas during this period. This book both tells a transcultural history of paper from the Cairo Genizah to the Mesoamerican manuscript and examines how paper became “Europeanized” through the various mechanisms of the watermark, colonization, and the philosophy of John Locke. Ultimately, Fowler demonstrates how paper—as refuse and rags transformed into white surface—informed the works for which it was used, as well as artists’ thinking more broadly, across the early modern world.

In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné
Written by Gala Chamberlain, Text by Thomas Leech and Nancy E. Green, Foreword by Martin F. Krause

A tribute to Gustave Baumann, a master color-woodcut artist whose prints helped form a popular image of America's natural beauty that has endured from the first half of the twentieth century to today.

Endowed with a deft hand and an eye for luminous color, Baumann (1881-1971) transformed American woodblock printing over his seventy-year career. This complete record of the artist's printed works, three decades in the making, includes early etchings and linocuts, 182 editioned color woodcuts, and hundreds of printed ephemera. More than 1,000 precise reproductions, many published for the first time, are illuminated by essays tracing Baumann's biography, techniques, and artistic practices.

An expressive carver, Baumann handled the entire printing process himself, making him a key figure in the American Arts and Crafts movement. German-born, Baumann settled in Santa Fe and became a central figure in the artistic community. His brilliantly colored landscapes of the Southwest and California coastline, celebrated in his day, are highly sought after by collectors today. This monumental publication allows for an unprecedented appreciation of one of the finest color-woodblock artists of the twentieth century.
About The Author

Gala Chamberlain is the trustee of the Ann Baumann Trust and director of the Annex Galleries, Santa Rosa, California. Nancy E. Green is the Gale and Ira Drukier Curator of European and American Art, Prints, and Drawings, 1800-1945 at the Herbert F. Johnson Museum of Art, Cornell University.
Thomas Leech is director of the press at the Palace of the Governors and a curator at the New Mexico History Museum, Santa Fe.

In this important book Christina Weyl takes us into the experimental New York print studio Atelier 17 and highlights the women whose work there advanced both modernism and feminism in the 1940s and 1950s. Weyl focuses on eight artists—Louise Bourgeois, Minna Citron, Worden Day, Dorothy Dehner, Sue Fuller, Alice Trumbull Mason, Louise Nevelson, and Anne Ryan—who bent the technical rules of printmaking and blazed new aesthetic terrain with their etchings, engravings, and woodcuts. She reveals how Atelier 17 operated as an uncommonly egalitarian laboratory for revolutionizing print technique, style, and scale. It facilitated women artists’ engagement with modernist styles, providing a forum for extraordinary achievements that shaped postwar sculpture, fiber art, neo-Dadaism, and the Pattern and Decoration movement. Atelier 17 fostered solidarity among women pursuing modernist forms of expression, providing inspiration for feminist collective action in the 1960s and 1970s. The Women of Atelier 17 also identifies for the first time nearly 100 women, many previously unknown, who worked at the studio, and provides incisive illustrated biographies of selected artists.