American printmaker Joseph Pennell’s iconic New York imagery is the focus of this article, including an exploration of his efforts to find an appropriate aesthetic language for Manhattan’s unparalleled new skyscrapers in light of his experience as a transatlantic artist.

The Reformation brought about an iconoclastic movement as a result of which cult images in the churches were removed and destroyed. Studying the Bible and preaching the word of God were the ways in which the new protestant faith was proclaimed. Nevertheless images, notably prints, continued to play a role throughout Europe, though exclusively at a didactic level. In the Netherlands, unlike the rest of Europe – mainly under the influence of prominent theologians of those days such as Gisbertus Voetius (1589–1676) – there were at first many objections to the use of visual arts. This changed in the course of time. At the beginning of the eighteenth century, a flourishing period arose for Dutch Bible illustrations. The famous Dutch printmaker Romeyn de Hooghe produced two series of the Bible prints, one devoted to the Old and one to the New Testament. These two series of prints were each preceded by title prints. These title prints and the explanatory texts accompanying them reveal a great deal about the use of prints in studying the Bible.

This article examines a group of special edition books of artists’ prints published in the early decades of the twentieth century by artists in and from Bengal. Usually privately commissioned from small printing houses in limited runs, and combining short texts with collections of black and white images in wood engraving, linocut, drypoint or other printmaking media, these artists’ books emerged at a time when intense intellectual debates had been percolating for decades regarding the “correct” mode of modern Indian expression in the visual arts. Artists, nevertheless, still struggled with the daily realities of trying to earn a living through their art practices. In their circulation and distribution, these books were a means by which artists promoted themselves to new forms of urban patronage, and in their visual imagining of village Bengal, they intervened in the ambiguous relationship between the urban and the rural in the experience of Indian modernity. This article examines how artists, especially those associated with the Government School of Art in Calcutta, used these books as a tool in the establishment and furtherance of their professional artistic careers.

A fully illustrated monograph on the printed work of Swiss artist Jean-Pierre Kaiser (1915–2001) who taught for almost 30 years at ECAL/Ecole cantonal des beaux-arts de Lausanne.

David Hockney’s early autobiographical prints, My Bonnie Lies Over the Ocean 1961 and the series A Rake’s Progress 1961–3, are examined in relation to contemporary developments in American art and literature, the artist’s affinities with his British modernist contemporaries and predecessors, and other aspects of his emerging sense of artistic and sexual identity.

Rembrandt’s stunning religious prints stand as evidence of the Dutch master’s extraordinary skill as a technician and as a testament to his genius as a teller of tales. Here, several virtually unknown etchings, collected by the Feddersen family and now preserved for the ages at the University of Notre Dame, are made widely available in a lavishly illustrated volume. Building on the contributions of earlier Rembrandt scholars, noted art historian Charles M. Rosenberg illuminates each of the 70 religious prints through detailed background information on the artist’s career as well as the historical, religious, and artistic impulses informing their creation. Readers will enjoy an impression of the earliest work, The Circumcision (1625-26); the famous Hundred Guilder Print; the enigmatic eighth state of Christ Presented to the People; one of a handful of examples of the very rare final posthumous state of The Three Crosses; and an impression and counterproof of The Triumph of Mordecai. From the joyous epiphany of the coming of the Messiah to the anguish of the betrayal of a father (Jacob) by his children, from choirs of angels waiting to receive the Virgin into heaven to the dog who defecates in the road by an ancient inn (The Good Samaritan), Rembrandt’s etchings offer a window into the nature of faith, aspiration, and human experience, ranging from the ecstatically divine to the worldly and mundane. Ultimately, these prints— modest, intimate, fragile objects—are great works of art which, like all masterpieces, reward us with fresh insights and discoveries at each new encounter.

Published to accompany the exhibition "For Art's Sake: The Aesthetic Movement in Print & Beyond 1870-1890, From the Collection of Eric Holzenberg," (January 26-March 11 2017). Foreword and Introduction by Eric Holzenberg, followed by descriptions of 129 books, prints and other objects displaying the exceptional artistry and wit of the Aesthetic Movement, the unique mix of medievalism and japonisme that captivated Oscar Wilde, inspired William Morris, and dominated the decorative arts in the period 1870-1890. The exhibition and catalogue explore, in unprecedented breadth and depth, the important role of print media in the development and spread of Aesthetic ideals in applied art of all kinds, including architecture, interior design, and the book arts. Designed by Jerry Kelly.

A wiki for anything related to prints and printmaking. The aim of OpenPrintStudio is to connect printmaking's rich history to its active practice. Started as a companion to the LinkedIn group Prints and Printmaking Enthusiasts, it will function as a resource of knowledge, from recipes and techniques to theory, history, and literature about prints and printmaking. Enjoy! And please contribute.

In her small La Jolla, California art studio sculptor June Schwarcz (1918-2015) expanded her etching knowledge with metalworking and printmaking and continued to find more expressive ways to enamel.

This article studies a set of 199 educational playing cards published in 1644, commissioned by Cardinal Jules Mazarin as an educational device for the five-year-old Louis XIV upon his coming into power. Etched by the famed Florentine printmaker Stefano della Bella, and written by the French poet-playwright Jean Desmarets de Saint-Sorlin, the Jeux de Cartes were divided into four sets, presenting morals from Ovid, teaching geography, depicting famous queens and the characteristics for which they were remembered, and portraying every king from French history, thus proffering positive and negative examples of rule. Upon completion, they were immediately, repeatedly printed and widely sold. This article newly discusses the Jeux in the context of the speculum principum, alongside trajectories of early modern playing cards and pictorial education, to analyze how they imbued morals in the mind of the young king while broadcasting his educational agenda to the French public during an unpopular Regency.