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.

This is an unprecedented, detailed account of the life and career of the Flemish printmaker and publisher Charles de Mallery, who was part of the renowned, extended Galle and Collaert families of print publishers of Antwerp. It reveals not only the often ignored diversity of his production, but also his remarkable and profitable participation in an unexpectedly active international trade in prints in seventeenth-century Europe. This documentation of the extent of his success as a print publisher is all the more potent when compared with his subsequent demise due to significant, unanticipated financial demands following the death of his wife. We consequently demonstrate in riveting detail how prosperous professionals can quickly be reduced to impoverishment, forced to sell their possessions and accept whatever work they could get, ultimately becoming dependent upon the good will of others.

This book explores the theme of drawing and the possibilities that lie within the medium, with some 60 works from the MuCBA collections by contemporary artists. MCBA conserves nearly 11 000 works, over half of which are drawings. It invites the public to discover a lesser known part of our collection, while focusing on the question of the medium’s intrinsic potentiality and the inexhaustible vital energy characterizing it. The title points to not only the initial act of drawing on a support, but also the indecision that springs from those first steps, i.e., the suspended state of the resulting forms, the tension between the mark and the support which together make up a single entity, the random outcomes that are part and parcel of techniques involving liquids, and finally the inner motoricity of drawing. Artists featured: Silvia Bächli, Bruno Baeriswyl, Yaron Berent, Lorna Bornand, Cyril Bourquin, Miram Cahn, Gianfredo Camesi, Marianne Décosterd, Alexandre Delay, Martin Disler, Peter Emch, Pierre Haubensak, Barbara Heé, Jean-Claude Hesselbarth, Thomas Huber, Alain Huck, Stéphan Landry, Jean Lecoultre, Urs Lüthi, Jean-Luc Manz, Robert Müller, Muriel Olesen, A. R. Penck, Anne Peverelli, Edmond Quinche, Markus Raetz, Peter Roesch, Klaudia Schifferle, Francine Simonin, Richard Tuttle, Janos Urban, Jacqueline Urban-Nicod, Claude Viallat, and Kurt von Ballmoos.

The first reference monograph on Marie Cool Fabio Balducci, this publication edited by Laurence Schmidlin offers a thorough overview of their singular practice and critical work. For 25 years they have been developing—under a double name voluntarily without conjunction—an unclassifiable body of work between sculpture and live practice based on short, often repetitive actions carried out at first only by Marie Cool, but later also by others in confined spaces (studio, exhibition space) using common objects from standard work environments (sheets of A4 paper, adhesive tape, pencils, office tables) and natural elements such as water or sunlight. Carried out in silence, these actions take the form of simple gestures and short interventions: moving pencils at a regular rhythm, holding two A4 sheets of paper against each other, pouring a bottle of water on a desk, or following the sun reflected by a glass. The themes of ownership, precariousness, and the subjection of the body to the material world underlie their rigorous and modest work. Their practice has recently taken on an installative dimension in relation to the exhibition space, thus offering the audience a space for exchange and reflection in relation to the stakes of today’s society and the experience we make of it.

What ties western art together? This extended essay attempts to distill some of the basic ideas with which artists and observers of their art have grappled, ideas worthy of ongoing consideration and debate. The fostering of visual creativity as it has morphed from ancient Greece to the present day, the political and economic forces underpinning the commissioning and displacement of art, and the ways in which contemporary art relates to past periods of art history (and in particular, the Renaissance), are among the topics broached. Architecture, drawings, prints, films, painting, sculpture, and decorative arts from Europe and the US are considered and examined, often including nonstandard examples, occasionally including ones from the immediate surroundings of the author (who is based in New England). Although this book is primarily geared to those who would like a brief introduction to some basic aspects of a visual tradition spanning thousands of years, students of aesthetics might also discover useful benchmarks in this concise overview. The author places the emphasis on how art has been used and loved (or sometimes despised or ignored) more than on which works should be most famous.

Typically viewed as a curiosity in the artist’s œuvre, the unusual cancellation sheet for Félix Vallotton’s 1898 woodcut series Intimités is here reassessed as an integral part of the series and an artwork in its own right. After situating Vallotton’s sheet among the ethical, commercial and ideological stakes of cancellation as a printmaking practice in nineteenth-century France, this article argues that the sheet functions as a uniquely decorative culmination of the series’ overall resistance to narrative. It concludes by re-examining the status of cancellation as a destructive, final act, proposing that it can instead be interpreted as a creative and generative process.

This article examines caricaturist Paul Gavarni’s lithographic series, Les Lorettes vieillies, and Jules and Edmond de Goncourt’s short text, La Lorette, as two conflicting visions of the lorette, a type of nineteenth-century prostitute celebrated in literary and visual sources. The Goncourts’ text has previously been studied for its explicit aim to break the rules around representing the lorette; however, I propose here that Gavarni’s little-known images were in fact more radical. Exploring the ways in which Les Lorettes vieillies humanizes the experience of the ageing lorette, a taboo topic in other sources, I show how the series challenges society’s norms around age and gender. Finally, I suggest that we should consider Les Lorettes vieillies, published at the same time and in the same newspaper as La Lorette, as an important intertext informing the Goncourts’ own presentation of the lorette as a transgressive figure.

Washi is paper made by hand from the bark of native Japanese shrubs. Washi is a common medium used for printmaking and paper crafts. Artists who have studied nagashi-zuki, a sheet-forming method unique to washi, often import Japanese fibers because alternatives with similar properties have not been identified. We propose Dirca L. (leatherwood), a shrub endemic to North America, as a source of fibers with properties similar to those plants traditionally used to make washi. The thinness and strength of the leatherwood paper allows it to withstand repeated bending, folding and creasing better than paper made from species of Wikstroemia (Japanese fiber), suggesting an alternative for use with various printmaking techniques and paper arts and crafts that involve folding, such as origami. We engaged printmakers and origami artists in creating original pieces using our leatherwood paper and evaluated how the paper responds to various printmaking techniques and complex folding. We identified Dirca mexicana as a source of fibers with similar properties to species of Wikstroemia used to make gampi washi. Handmade D. mexicana bark paper was successfully used as a paper medium for intaglio, lithography, relief, digital, and screenprinting printmaking techniques, as well as, complex folding origami sculptures.