Today Renaissance-era prints are typically preserved behind glass or in solander boxes in museums, but these decorative objects were once a central part of everyday life. Altered and Adorned is a delightful, surprising look at how prints were used: affixed on walls; glued into albums, books, and boxes; annotated; hand-colored; or cut apart.

This handsome volume introduces readers to the experimental world of printmaking in the mid-15th and 16th centuries and the array of objects it inspired, from illustrated books, sewing patterns, and wearable ornaments to printed sundials and anatomical charts. It features many never-before-published treasures from the Art Institute of Chicago's rich permanent collection, along with essays on the ways prints functioned—in some cases as three-dimensional and interactive works—and how their condition communicates their use.

The purpose of this website is to serve as a place where information about the artist Pieter Bruegel can be gathered, shared, and debated among scholars. It serves as a companion site to janbrueghel.net, and is meant to provide ways of furthering our understanding of how the Brueg(h)el family produced a complex body of interconnected work. The site also serves as a general resource for any visitor who is interested in the artist's works. Visitors are encouraged to explore between the two websites to investigate the relationship between the two Brueg(h)els and their works.

We have gathered and compiled this record of all known works attributed to Pieter Bruegel from various published monographs on the artist. Please note that our site is a work constantly in progress. New material is added frequently. Scholars who would like to contribute their own opinions to our discussion pages, or to use the "My Research" functions that cross both websites, should contact us to obtain a login and password.

Japanese prints have been integral to the identity of the Portland Art Museum since 1932, when the Museum was given 750 traditional woodblock prints from the collection of Mary Andrews Ladd. Since then, the Museum’s holdings have grown to more than 2,500 works and span from the late seventeenth century to the present day.

'The Artist’s Touch, The Craftsman’s Hand: Three Centuries of Japanese Prints from the Portland Art Museum' is published on the occasion of an exhibition of the same name, held at the Portland Art Museum from October 8, 2011 through January 22, 2012. The first major publication to draw exclusively from this remarkable public resource, 'The Artist’s Touch, The Craftsman’s Hand' presents a selection of more than 250 of the most historically important and visually compelling Japanese prints in the collection. Nearly 100 of these works are extremely rare in North American collections, and almost all of them appear here in an English-language publication for the first time. Noteworthy areas of emphasis include early actor prints, dating back to the first decade of the eighteenth century; works by Suzuki Harunobu, the master associated with the origins of full-color printing in 1765; the deluxe, privately-printed surimono of the early nineteenth century; painterly landscapes of the early twentieth century, including a series that documents the Great Kantô Earthquake of 1923; and contemporary prints, ranging from Op Art and Abstract Expressionism to lyrical evocations of an imagined past.

This volume is a collaboration by five scholars in the field of Japanese art and cultural history. Donald Jenkins, an authority on Japanese prints, has contributed an overview of the works in the exhibition as well as a focused article on Harunobu. Laurence Kominz, a specialist in traditional Japanese drama, writes about prints of kabuki actors and their enthusiastic fans. John T. Carpenter, an expert in Japanese calligraphy, poetry, and prints, elucidated the cultural meanings in still-life surimono. Research Associate Lynn Katsumoto introduces the reader to the donor of the founding collection, Mary Andrews Ladd. The essays are followed by a complete catalogue of the exhibitions 257 works, fully illustrated in color with extended commentary by exhibition curator Maribeth Graybill, The Arlene and Harold Schnitzer Curator of Asian Art, and Lynn Katsumoto. Also included are a chronology, glossary, bibliography, and a Japanese-language list of works. Graybill served as editor for the entire volume.

Since the 1940s, printmaker Warrington Colescott has trained his brilliant artistic eye on the fashions and foibles of human behavior. A satirist in the tradition of William Hogarth, Francisco Goya, Honoré Daumier, and George Grosz, Colescott utilizes his sharp wit and vivid imagination to interpret contemporary and historical events, from the personal to the public, the local to the international. He is especially noted for his exceptional command of complex printmaking techniques and for his innovative approach to intaglio printing.

The Prints of Warrington Colescott: A Catalogue Raisonné, 1948-2008 is the first fully illustrated catalogue to document Colescott's extensive and varied graphic career. Author and curator Mary Weaver Chapin has worked closely with Colescott, interviewed him at length, and had unique access to his private papers and archives. She documents his personal and artistic life in a detailed biographic sketch, and her extensive essay "Research Printmaker and Mad-Dog Attack Artist" examines the evolution of his printmaking career, focusing on his technique, iconography, and his place in American printmaking. The catalogue documents and depicts all 359 of Colescott's editioned prints, providing title, date, media, dimensions, and selected exhibition history and collections for each print, along with comments and anecdotes by Chapin and Colescott.

Hardcover, 352 pages

Structured around in-depth and interconnected case studies and driven by a methodology of material, contextual, and iconographic analysis, this book argues that early European single-sheet prints, in both the north and south, are best understood as highly accessible objects shaped and framed by individual viewers. Author David Areford offers a synthetic historical narrative of early prints that stresses their unusual material nature, as well as their accessibility to a variety of viewers, both lay and monastic. This volume represents a shift in the study of the early printed image, one that mirrors the widespread movement in art history away from issues of production, style, and the artist toward issues of reception, function, and the viewer. Areford's approach is intensely grounded in the object, especially the unacknowledged material complexity of the print as a portable, malleable, and accessible image that depended on a response that was not only visual but often physical, emotional, and psychological. Recognizing that early prints were not primarily designed for aesthetic appreciation, the author analyzes how their meanings stemmed from specific functions involving private devotion, protection, indulgences, the cult of saints, pilgrimage, exorcism, the art of memory, and anti-Semitic propaganda. Although the medium's first century was clearly transitional and experimental, Areford explores how its potential to impact viewers in new ways”both positive and negative”was quickly realized.

Two volume work on the life, art, and prints of Peter Moran (1841-1914),