Since the mid-2000s, David Hominal has been one of the most original and vigorous voices of the contemporary art scene. Working primarily with painting—principally in series—he also explores sculpture, drawing, film, printmaking, performance, and installation. His multifaceted work is the offspring of an exceptionally intense relationship with the world. It is a place where images drawn from both personal and everyday sources interact; where disciplines such as dance, music, and the visual arts converge.

This first monograph on his oeuvre offers an overview of his practice, underlining his engagement in representation, expression of the Self, and the traditions of art and art history. As French art critic and curator Stéphanie Moisdon states in her commissioned essay: "Hominal's oeuvre stands firm in the middle of the contemporary tumult, neither reveals nor conceals any hidden part. It stands there, in the entire coarseness of its appearance. No tongue-in-cheek humor, no false flooring, illusion or trickery. His painting expresses only what it shows, diverting the endeavors, as tiring as they are many, to clarify and reveal. In his work there is a constant oscillation between homage and dismantling, between too much and too little, between the elimination (of sources, of contexts) and the appropriation (of sensations, of intensities), from which bare forms arise." A second essay by Laurence Schmidlin, Musée Jenisch Deputy Director and Head of the Cabinet cantonal des estampes, analyses Hominal's practice and relationship to printmaking in the global context of his work.

David Hominal was born in 1976 in Evian (France). He graduated from ECAL (Lausanne) and is now based in Berlin. He exhibited recently at Helmhaus, Zurich; Centre d’art contemporain, Geneva; Kunsthalle Bern, Bern; and the Swiss Institute, New York. 2016's exhibitions include a solo show at Le Consortium, Dijon, and at Musée Jenisch Vevey on the occasion of which this volume is published.

Taking as its focus the international modern phenomenon of artistic organization in the nineteenth century, this essay examines the first printmaking group in Russia – the Society of Russian Etchers. Analysing the foundation and published output of the society, it explores the reasons why a group of painters turned to etching in the 1870s, and how this technique enabled them to foster a novel sense of identity in the Russian art world.

This German-language book by Anne Bloemacher addresses the question of whether Raphael Sanzio da Urbino guided the timely use of prints to reproduce his pictorial designs, or if Marcantonio Raimondi appropriated the images without the express desire of Raphael. Bloemacher considers recently discovered under drawings as well as extant preparatory studies to argue for Raphael’s active participation in the dissemination of his inventions in the medium of engraving. In her investigation, Bloemacher further explores the facets of cooperation between painters and engravers, considering workshop practices, methods of production, economic factors, and aspects of artistic competition and self-representation.

The book is divided into six chapters:

I. Introduction. Bloemacher outlines her research questions and methods, and she defines the terms reproduction, original, copy, and translation.

II. Raphael and Raimondi in Sources: Early Literature and Pictorial Evidences. This chapter covers Giorgio Vasari’s texts about Raphael and Raimondi, written sources on Raimondi and his collaboration with Raphael, other early literature about both artists, and their portraits of one another.

III. The Production of the Engraving: On the Transformation of the Invented Image in Drawing, Painting, and Engraving. This chapter explores workshop practices of Raphael and Raimondi. It includes investigations of the Fossombroner Sketchbook and Codex Escurialensis, both containing drawings by unknown hands and which provided source material for engravings by Raimondi and Agostino Veneziano. The heart of this chapter is a comparative analysis of original drawings, under drawings, and engravings, related to six of Raphael’s paintings.

IV. On the Intention of the Engraving: The Reflection of Invention in Some Contemporary Engravings after Raphael. The chapter, the longest in Bloemacher’s book, examines and interprets Raimondi’s blank signature tablet as a tabula rasa or blank slate, and thus a philosophical metaphor for invention. In the same section are considered Raimondi’s portrait of Raphael and Ugo da Carpi’s signature and use of framing devices. The next section looks at the revision of invention in second versions (i.e. new editions) of engravings (e.g. Massacre of the Innocents) and the later translation of earlier paintings into engravings. The chapter’s final section addresses the idea as product: the commercial production and handling of images, including a look at “cheap copies” and Giovanni Antonio da Brescia as copyist of Raphael-Raimondi products.

V. Review: The Beginning of the Collaboration. This chapter returns to prints related to the inception of Raphael and Raimondi’s partnership. It also examines Raimondi’s methods of shading (hatching) and discusses the chronology of prints with multiple versions, including Massacre of the Innocents. Also explored are the relationships between shading theory and practice of Leonardo da Vinci, Albrecht Dürer, and Raimondi.

VI. Conclusion

Eberhard W. Kornfeld et Fondation Giacometti
Alberto Giacometti. Catalogue raisonné des estampes
Editions Galerie Kornfeld, Berne, 2016

Vol. I, No. 1–231, 1917–1957/1958
Vol. II., No. 232–452, 1957/1958–1965
ISBN: 978-3-85773-057-3
Language: French
Price Vol. I and II: CHF 450.00

A shift of global proportions occurred in May 1808. Napoleon Bonaparte invaded Spain and deposed the Spanish king. Overnight, the Hispanic world was transformed forever. Hispanics were forced to confront modernity, and to look beyond monarchy and religion for new sources of authority. A World Not to Come focuses on how Spanish Americans in Texas used writing as a means to establish new sources of authority, and how a Latino literary and intellectual life was born in the New World.

The geographic locale that became Texas changed sovereignty four times, from Spanish colony to Mexican republic to Texan republic and finally to a U.S. state. Following the trail of manifestos, correspondence, histories, petitions, and periodicals, Raúl Coronado goes to the writings of Texas Mexicans to explore how they began the slow process of viewing the world as no longer being a received order but a produced order. Through reconfigured publics, they debated how best to remake the social fabric even as they were caught up in a whirlwind of wars, social upheaval, and political transformations.

Yet, while imagining a new world, Texas Mexicans were undergoing a transformation from an elite community of “civilizing” conquerors to an embattled, pauperized, racialized group whose voices were annihilated by war. In the end, theirs was a world not to come. Coronado sees in this process of racialization the birth of an emergent Latino culture and literature.

Waves of renewal traces the history of Japanese printmaking following an era of decline beginning in the late nineteenth century. The early twentieth century witnessed the emergence of two principal printmaking movements. The first shin hanga (new print) reinvented and revitalised the conventional genres of landscape, beauties and actors. Shin hanga adhered to a traditional production method that was based on the cooperation between artist, block-cutter, printer and publisher. At the same time, it strove to forge a new visual language in both style and technique. The second s saku hanga (creative print) was inspired by the dialogue between Western and Japanese art and aesthetics. In the main, s saku hanga adherents advocated the participation of the artist in the entire creative process from design to production. Waves of renewal is the most comprehensive publication to date to focus on the holdings of the Nihon no hanga collection in Amsterdam. The 277 prints included showcase the sophistication of shin hanga and the boldness of s saku hanga. An introductory essay sets the stage, followed by ten shorter essays by noted scholars in the field that centre on aspects integral to our understanding of early to mid-twentieth century Japanese printmaking. Each print is documented and annotated in the extensive catalogue section.

Contributors: Chris Uhlenbeck; Amy Reigle Newland; Sh ichir Watanabe; Setsuko Abe; Kendall H. Brown; Mikiko Hirayama; Junko Nishiyama; Chiaki Ajioka; Noriko Kuwahara; Kiyoko Sawatari; Maureen de Vries

Winner of the Apollo Magazine 2016 "Book of the Year" award, this text is a landmark publication--beautifully illustrated with over 300 prints from the British Museum's renowned collection--which traces the history of printmaking from its earliest days until the arrival of photography.

Copperplate printmaking, developed alongside Gutenberg's invention of moveable type, was a huge business employing thousands of people, and dominating image production for nearly four centuries across the whole of Europe. Its techniques and influence remained very stable until the nineteenth century, when this world was displaced by new technologies, of which photography was by far the most important.

"Print Before Photography" examines the unrivaled importance of printmaking in its golden age, illustrated through the British Museum's outstanding collection of prints. This unique and significant book is destined to be a leading reference in print scholarship, and will be of interest to anyone with an interest in this era of art history.

In 1970, photography curator Peter C. Bunnell organized the exhibition "Photography into Sculpture" for the Museum of Modern Art in New York, bringing together twenty-three photographers and artists from across the United States as well as Vancouver, British Columbia, whose work challenged accepted practices and categories. "The Photographic Object 1970" serves as an exhibition catalogue after the fact, an oral history, and critical reading of exhibitions and experimental photography during the 1960s and 70s. It proposes precedents for contemporary artists who continue to blur the boundaries between photography and other art mediums.

This paper investigates the series of etchings that German-born Catholic convert artist Mattheus Greuter produced in Rome to illustrate Galileo Galilei’s 1613 astronomical publication on sunspots. Greuter used an experimental copperplate etching technique that subsumed Galileo’s observation-based conclusions about the sunspots’ ontological essence, and adapted an exceptionally subtle linear manner from devotional prints, their fine style inflecting Lucretian mechanics and metaphors of vision, and complicating early modern perceptions regarding northern lines as inherently devout and accurate. Greuter’s sunspots capture the poignancy of the all-too-brief historical moment in which Galileo, the German diaspora artist, Jesuit scientists, and Roman inquisitors might coexist.

Public Print Auctions in Paris Under the Third Republic.
Catalog Directory (1870-1914)

This directory is based on the detailed analysis of annotated auction catalogs from the 19th century preserved in the Print Department of the Bibliothèque nationale de France. Each notice is accompanied by an analytical commentary containing a summary of the auction, a short biography of the collector and some of the more significant prices realized in the auctions. The book brings together unpublished biographical information on many amateurs and bibliophiles of the 19th century whose prints collections were catalogued and sold at auction. In addition, many new provenances help correct or supplement the two works of Frits Lugt, "Répertoire des catalogues de ventes" and "Marques de collections de dessins et d'estampes".


Présentation

Ce répertoire est rédigé sur la base du dépouillement de la collection des catalogues de ventes annotés conservés au département des Estampes de la Bibliothèque nationale de France. Chaque notice est accompagnée d'un commentaire analytique contenant une courte biographie du collectionneur, un résumé de la vente ainsi que les prix les plus significatifs atteints dans les adjudications. L'ouvrage apporte des éléments biographiques inédits sur les amateurs et bibliophiles du XIXe siècle dont les collections furent cataloguées et mises aux enchères. De nombreuses provenances nouvelles viennent corriger ou compléter les deux ouvrages de Frits Lugt, "Répertoire des catalogues de ventes" et "Marques de collections de dessins et d'estampes".