This essay proposes an approach to the genre of the seventeenth-century French fashion print that follows the rubric of the printmakers, which takes the basic physical and graphic format of the genre rather than the thematic content of the images as its essential characteristic. This allows for an examination of the many interrelated modes of address that an image or theme might traverse in the course of minor graphic adjustments, and of how these formed a language for more complex interventions into the genre of the fashion print, which brings to light the ways in which the pictorial and rhetorical ingenuity of the printmakers participated in a broader cultural discourse on fashion, fashionability, and social identity in the late seventeenth century.

This article considers printmaking and photography as media of inscription in late nineteenth-century Mexican archaeology. Specifically, it analyzes a debate about the relative virtues of drawn and photographic archaeological images between the Mexican polymath Antonio Peñafiel (1830–1922) and the British and French-American explorers Alice Dixon Le Plongeon (1851–1910) and Augustus Le Plongeon (1826–1908). Peñafiel, tasked with assembling comprehensive documentation of Mexico’s patrimony, found the constructed image of the print an ideal venue for demonstrating national scientific accomplishment, while the Le Plongeons celebrated the apparent presence and documentary holism afforded by photography. However, despite contentious epistemic debates about how scientists should navigate an unsettled ecology of nineteenth-century reproductive media, archival materials in the GRI collections reveal these scholars’ practices to be thoroughly intermedial. This article argues for further attention to local cultures of archaeological knowledge- and image-making as well as a complication of the frequently coupled historiographies of nineteenth-century archaeology and photography.

La Caricature was the 19th Century equivalent and the precursor of Charlie Hebdo. The editor Charles Philipon employed the major satirical artists of the mid-19th Century notably Daumier, Grandville, E. Forest, Charlet, Bellangé and Gavarni. It appeared for five years, between 1830-1835.

The main subjects of the caricatures were Louis-Philippe and his entourage of July Monarchy politicians. Louis-Philippe, son of the Duke of Orléans, came to power after the 1830 Revolution as the Citizen King. However, he was not amused by the caricatures and once put Daumier in prison for 6 months, before suppressing the whole publication in 1835. He became more and more authoritarian and was finally forced to abdicate during the 1848 Revolution.

The plates are numbered 1-524, but approximately 62 are double sheets so there are actually 462 separate numbered prints plus A, B and several bis.

Georges Vicaire catalogued the 251 issues and 524 plates in 1895. However they have never been reproduced in a catalogue, nor has there been an English language discussion or catalogue of the corpus of prints

Alan Wofsy Fine Arts of San Francisco (www.art-books.com) has now published the first illustrated catalogue of all the lithographs that were published in La Caricature, 1830-1835.

All of the works are described in French and English and are arranged in the order they appeared in the original publication. There is an index by artist and the catalogue by Georges Vicaire from 1895 is also included. Many of the artists contributed anonymously and were not identified by Vicaire but are now identified. Where there were not descriptions of the plates in the original publication (about 60 of the 462) , this new edition now provides descriptions in French.

There are essays in English are by Gordon Norton Ray and Edwin De Turck Bechtel and in French by Henri Beraldi and Georges Vicaire

The general editor and designer is Corine Labridy-Stofle, a PhD candidate at the University of California, Berkeley.

Melissa Bender, PhD, a lecturer at the University of California, Davis, and Joanna Oseman, a professional translator, have provided insightful English language descriptions of each of the caricatures.

Alan Hyman, the editor of many catalogues raisonnés, is the Lektor.

Julian Pooley FSA writes with news of a book about copper-plate engraving. Four generations of the Basire family of skilled printmakers, draughtsmen, and engravers, spanning 1730–1883, were celebrated for their skill in drawing, on copper and stone, accurate representations of monuments and antiquities. Their pictures can be found throughout Archaeologia, Vetusta Monumenta, and many of the most celebrated works of 18th- and 19th-century topography and antiquarianism (James Basire, 1730–1802, was engraver to the Society of Antiquaries for 20 years). Richard Goddard, a descendent of the Basire family, has published a meticulously researched and beautifully written study of their careers, interests and influence called ‘Drawing on Copper’: The Basire Family of Copper-Plate Engravers and their Works. It is beautifully illustrated by over 70 plates, says Pooley, and has six chapters assessing the medium of engraving and careers of successive members of the Basire family.

A close study of Mantegna's Entombment engraving reveals how Mantegna inscribed into the facture of his engravings their ephemerality and destruction. Mantegna's prints introduced a new paper form of perpetuation into western European art, a form of continuation founded not in the endurance of the material but in the kinesis of the material. Through this movement, Mantegna's engravings were translated into other mediums and achieved a new form of continuation reliant not on the original but on the act of copying.

Did you ever cut a linoleum block in art class? While rolls of linoleum were used for floor covering from the 1860s, artists only began to use the material about 1910. Pieces of linoleum, sometimes mounted on wood blocks, were quick to cut and offered a readily available material for making bold lines for prints. The material took on a useful role in art education, and many students from the 1930s to today first learned about printmaking from cutting and inking linoleum blocks, also called linocuts.

Major artists including Henri Matisse, Pablo Picasso, and Roy Lichtenstein made linoleum cuts. You've probably heard of them, but it's possible you're less familiar with Margaret Taylor Burroughs and Elizabeth Catlett. For Women's History Month, here's a closer look at their work.

In 1624 the Dutch West India Company established the colony of Brazil. Only thirty years later, the Dutch Republic handed over the colony to Portugal, never to return to the South Atlantic. Because Dutch Brazil was the first sustained Protestant colony in Iberian America, the events there became major news in early modern Europe and shaped a lively print culture.

In Amsterdam's Atlantic, historian Michiel van Groesen shows how the rise and tumultuous fall of Dutch Brazil marked the emergence of a "public Atlantic" centered around Holland's capital city. Amsterdam served as Europe's main hub for news from the Atlantic world, and breaking reports out of Brazil generated great excitement in the city, which reverberated throughout the continent. Initially, the flow of information was successfully managed by the directors of the West India Company. However, when Portuguese sugar planters revolted against the Dutch regime, and tales of corruption among leading administrators in Brazil emerged, they lost their hold on the media landscape, and reports traveled more freely. Fueled by the powerful local print media, popular discussions about Brazil became so bitter that the Amsterdam authorities ultimately withdrew their support for the colony.

The self-inflicted demise of Dutch Brazil has been regarded as an anomaly during an otherwise remarkably liberal period in Dutch history, and consequently generations of historians have neglected its significance. Amsterdam's Atlantic puts Dutch Brazil back on the front pages and argues that the way the Amsterdam media constructed Atlantic events was a key element in the transformation of public opinion in Europe.

Michiel van Groesen is Professor of Maritime History at Leiden University.

Taking its title from the 1844 visionary graphic novel by J. J. Grandville, this groundbreaking book explores the invention of print media—including comics, caricature, the illustrated press, illustrated books, and popular prints—tracing their development as well as the aesthetic, political, technological, and cultural issues that shaped them. The explosion of imagery from the late 18th century to the beginning of the 20th exceeded the print production from all previous centuries combined, spurred the growth of the international art market, and encouraged the cross-fertilization of media, subjects, and styles. Patricia Mainardi examines scores of imaginative and innovative prints, focusing on highly experimental moments of discovery, when artists and publishers tested the limits of each new medium, creating visual languages that extend to the comics and graphic novels of today. Another World unearths a wealth of visual material, revealing a history of how our image-saturated world came into being, and situating the study of print culture firmly within the context of art history.

Patricia Mainardi is professor emerita of art history at the Graduate Center of the City University of New York and Chevalier in France’s Order of Academic Palms. She has received the College Art Association’s Charles Rufus Morey Award and numerous fellowships, including from the National Endowment for the Humanities and the Institute for Advanced Study.

Around 1960, many artists began to shift away from the expressionism of the New York school. Pop art plundered the era’s popular and consumer culture, while minimalism reduced everything to a system of abstract, repetitive shapes.

Works by twenty-three artists are presented. Barnett Newman’s major Cantos series (1964) and Agnes Martin’s On a Clear Day (1973) are important touchstones, as are Robert Rauschenberg’s use of found visual material and Jasper Johns’ exploration of everyday objects. Other highlights include woodcuts by Helen Frankenthaler and Donald Judd, Roy Lichtenstein’s Brushstroke (1965), and Andy Warhol’s portraits of celebrities and his series of Campbell’s soup cans.

Delving into the intersections between artistic images and philosophical knowledge in Europe from the late sixteenth to the early eighteenth centuries, The Art of Philosophy shows that the making and study of visual art functioned as important methods of philosophical thinking and instruction. From frontispieces of books to monumental prints created by philosophers in collaboration with renowned artists, Susanna Berger examines visual representations of philosophy and overturns prevailing assumptions about the limited function of the visual in European intellectual history.

Rather than merely illustrating already existing philosophical concepts, visual images generated new knowledge for both Aristotelian thinkers and anti-Aristotelians, such as Descartes and Hobbes. Printmaking and drawing played a decisive role in discoveries that led to a move away from the authority of Aristotle in the seventeenth century. Berger interprets visual art from printed books, student lecture notebooks, alba amicorum (friendship albums), broadsides, and paintings, and examines the work of such artists as Pietro Testa, Léonard Gaultier, Abraham Bosse, Dürer, and Rembrandt. In particular, she focuses on the rise and decline of the "plural image," a genre that was popular among early modern philosophers. Plural images brought multiple images together on the same page, often in order to visualize systems of logic, metaphysics, natural philosophy, or moral philosophy.

Featuring previously unpublished prints and drawings from the early modern period and lavish gatefolds, The Art of Philosophy reveals the essential connections between visual commentary and philosophical thought.

Susanna Berger is assistant professor of art history at the University of Southern California.