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Dissertation or MA Thesis Posted: 08/18/2022

Cross-cultural Currents and Syncretism in Early Modern Opossum Iconography

Deniz Martinez. "Cross-cultural Currents and Syncretism in Early Modern Opossum Iconography." MA Thesis, Lindenwood University, 2022.
Opossums (Order Didelphimorphia) are marsupial mammals endemic to the Americas. They are also the first marsupials Europeans ever encountered, over a century before any Australasian species. Because of their unique marsupial characteristics, opossums have historically been viewed as an “anomalous” animal form across both Indigenous American and European cultures, and thus developed a rich and complex transatlantic cultural history. By tracing the development of opossum imagery through the millennia, one can uncover clear patterns of how their distinct features became embedded in iconographies relative to biogeocultural sphere, and how certain iconographic conventions were transmitted through various media both within and between cultures. The single most important flashpoint in this historical visual timeline was the transatlantic convergence of cultures post-1492, as this was the catalyst which not only jumpstarted this visual record on the European side, but also curtailed it for centuries on the Indigenous American side. While European opossum images proliferated, a once diverse and widespread Indigenous American iconography was all but erased within a generation of conquest. However, it appears at least a few opossums managed to survive this apparent iconographic extinction, embedded within the imagery of early Spanish colonial projects illustrated by Indigenous artists, while Indigenous ethnozoological knowledge also influenced the production of European images. This thesis will examine how, through cross-cultural currents and syncretic processes, opossum iconography developed on both sides of the Atlantic during the Early Modern Period (fifteenth through eighteenth centuries), with an emphasis on where and how Indigenous knowledge survived in this visual record.
Relevant research areas: North America, South America, Western Europe, Medieval, Renaissance, Baroque, 18th Century, 19th Century, Book arts, Engraving, Etching, Lithography
External Link
Article Posted: 08/02/2022

Translating the Hand into Print: Johann Neudörffer’s Etched Writing Manual

Susanne Meurer. "Translating the Hand into Print: Johann Neudörffer’s Etched Writing Manual." Renaissance Quarterly 75, no. 2 (June 2022): 403-58.
By their very nature writing manuals encourage viewer participation, as they illustrate how to form lines into letters. In Johann Neudörffer's “Gute Ordnung” (Good order, 1538–50s) this genesis of lines extends beyond pure pedagogy. By displaying etchings in mirror writing alongside true-sided counterproofs, Neudörffer invites viewers to consider methods of mechanical production of seemingly handwritten lines. His text-images share their self-aware attention to linear aesthetics and process with drawings and etchings by Albrecht Altdorfer and Albrecht Dürer. As Neudörffer's manual taught the formation of beautiful written lines, it also trained contemporaries to become sophisticated consumers of linear beauty in figurative art.
Relevant research areas: Western Europe, Renaissance, Etching
External Link
Book Chapter Posted: 06/22/2022

Si Disputano: Debate, Conversation, and Collaboration in the Vatican Bibliotheca Iulia

Lisa Pon. "Si Disputano: Debate, Conversation, and Collaboration in the Vatican Bibliotheca Iulia." In Revisiting Raphael's Vatican Stanze, edited by Kim Butler Wingfield and Tracy Cosgriff. Turnhout: Harvey Miller, 2022: 98-107.
Relevant research areas: Western Europe, Renaissance
Article Posted: 06/20/2022

Engraving’s “Immoveable Veil”: Phillis Wheatley’s Portrait and the Politics of Technique

Jennifer Chuong. "Engraving’s “Immoveable Veil”: Phillis Wheatley’s Portrait and the Politics of Technique." The Art Bulletin 104, no. 2 (June 2022): 63 - 88.
The frontispiece of Phillis Wheatley’s Poems on Various Subjects, Religious and Moral (1773), added to increase the book’s humanitarian and commercial appeal, is an important “first” of Black portraiture. Yet surprisingly little attention has been paid to the engraved representation of the poet’s dark skin and its contribution to her complicated reception. While engraving’s abstractions had long been used to commemorate idealized (white) individuals, an Enlightenment understanding of corporeal skin as a changeable surface meant that engraving’s linear syntax also lent itself to derogatory characterizations of Black skin as an “immoveable veil” that masks the expressions of Black subjects.
Relevant research areas: 18th Century, Engraving
External Link
Article Posted: 06/09/2022

The Inca Empire on Parlor Walls

Agnieszka Anna Ficek. "The Inca Empire on Parlor Walls." Home Subjects (2022).
Relevant research areas: South America, Western Europe, 19th Century, Relief printing
External Link
Article Posted: 06/06/2022

Overseeing Senegal: French Prints of the Late-Eighteenth-Century Slave Trade

Katherine Calvin. "Overseeing Senegal: French Prints of the Late-Eighteenth-Century Slave Trade." Journal18 (2022).
Relevant research areas: Africa, 18th Century, 19th Century, Etching
External Link
Book or Exhibition Catalog Posted: 04/02/2022

OF THE LAND: The Art and Poetry of Lou Stovall

Will Stovall, Harry Cooper. OF THE LAND: The Art and Poetry of Lou Stovall. 2022: Georgetown University Press, 2022.
Renowned for his innovative work with silkscreen printing, Lou Stovall's works are part of numerous collections, including the National Gallery of Art, Smithsonian American Art Museum, and Phillips Collection. Washington Post art critic Paul Richard once wrote, "As a printer of his own art, and of the art of many others, as a framer and installer and shepherd of collections, Stovall has inserted more art into Washington than almost anyone in town."

Of the Land: The Art and Poetry of Lou Stovall presents a series of prints and accompanying poems that showcase the artist's work during the 1970s, when he was developing his unique silkscreen technique and exploring both natural and abstract elements. An introduction by the book's editor and artist's son, Will Stovall, along with an autobiography from the artist anchor the Of the Land series in its time and place—a period of jazz, protest, and prolific art production in Washington, DC, that birthed the Washington Color School. Stovall's contributions, as well as his collaborations with well-known artists like Jacob Lawrence, Sam Gilliam, Elizabeth Catlett, and Robert Mangold, have cemented him as one of the most significant American artists of our age.

Part of a tradition of African American artists and thinkers who met at Howard University, Lou Stovall created the Workshop in 1968, a small, active silkscreen studio printing posters for arts and DC-focused events. His deep influence on the silkscreen medium, the art community, and DC will be part of his lasting legacy.
External Link
Book or Exhibition Catalog Posted: 04/02/2022

A Biographical Dictionary of British and Irish Engravers, 1714–1820

David Alexander. A Biographical Dictionary of British and Irish Engravers, 1714–1820. New Haven: Yale University Press, 2022.
The first reference work to cover all engravers working on copper in Britain and Ireland 1714–1820

This biographical dictionary of engravers working on copper encompasses both those who produced fine art prints, and also those who engraved book illustrations for medical, technical and literary works, all of which played a more important part than is usually realised in spreading information in the age of Enlightenment. Some 3,000 biographical entries draw on much unpublished information, researched over four decades, notably records of apprenticeship, genealogy, insurance and bankruptcy as well as newspaper advertisements and contemporary accounts.

This is the first reference work to cover all engravers working on copper in Britain and Ireland 1714–1820. Many biographical entries describe celebrated engravers producing “fine art” prints of paintings, which spread knowledge about living and dead artists. However, this book also builds up a more complex picture of the occupation of printmaking and includes engravers, many previously unresearched, who engraved ephemeral material, such as trade cards, bank notes, and satirical prints as well as the images that spread knowledge across literary, geographical, historical, topographical, medical and technical fields.
Relevant research areas: Western Europe, 18th Century, 19th Century, Engraving, Etching, Relief printing
External Link
Book or Exhibition Catalog Posted: 04/02/2022

Hockney to Himid: 60 Years of British Printmaking

Simon Martin, Louise Weller. Hockney to Himid: 60 Years of British Printmaking. New Haven: Yale University Press, 2022.
Emerging from the post-war period, printmaking underwent a marked elevation in status and transition from specialist medium to one widely adopted by some of the foremost names in contemporary art. This book charts how Britain emerged from the post-war years and thrived in the early 1960s, navigated the social changes of the 1970s and 1980s, and saw the ascendency of contemporary British art from the 1990s to the present day. From wood engravings and etchings to lithographs and screenprints, the versatility of the printmaking medium has enabled artists to expand their practice to explore new possibilities. The works featured in the book are all drawn from Pallant House Gallery’s extensive collection of over 2,500 prints. More than 100 artists are represented, including Edward Bawden, Enid Marx, Peter Blake, Richard Hamilton, Barbara Hepworth, Lubaina Himid, David Hockney, Lucian Freud, Paula Rego, Grayson Perry, Tracey Emin, Chris Ofili, and many more.

Simon Martin is director of Pallant House Gallery. Louise Weller is head of exhibitions at Pallant House Gallery.
Relevant research areas: Western Europe, 20th Century, Contemporary
External Link
Book Chapter Posted: 03/06/2022

Hieronymus van Winghe and Collecting Prints from the Southern Netherlands in the early Seventeenth Century

. "Hieronymus van Winghe and Collecting Prints from the Southern Netherlands in the early Seventeenth Century." In Curieux d’estampes. Collections et collectionneurs de gravures en Europe (1500-1815), edited by M. Grivel, V. Meyer, E. Leutrat, and P. Wachenheim. Rennes: Presses Universitaires de Rennes, 2022: 35-48.
Hieronymus Van Winghe, a canon at the cathedral in Tournai, came from a learned family and actively gathered texts and images that reflect a wide range of interests. Although few of the prints he collected are still preserved, records of his purchases via the Plantin-Moretus Press of Antwerp provide significant data as to how and what he collected. For, not only do they point to his reliance on the Galle family of print publishers for many of his acquisitions, but they also reveal numerous prints that he purchased at the end of his life. These last records provide valuable insights into not only Van Winghe’s own preferences, but also a glimpse of the general market for prints by artists from the Southern Netherlands in the early 17th century.
Relevant research areas: Western Europe, Renaissance, Baroque, Engraving, Etching
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All content c. 2023 Association of Print Scholars