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Article
Posted: 06/20/2022
Jennifer Chuong.
"Engraving’s “Immoveable Veil”: Phillis Wheatley’s Portrait and the Politics of Technique."
The Art Bulletin
104, no. 2 (June 2022): 63 - 88.
The frontispiece of Phillis Wheatley’s Poems on Various Subjects, Religious and Moral (1773), added to increase the book’s humanitarian and commercial appeal, is an important “first” of Black portraiture. Yet surprisingly little attention has been paid to the engraved representation of the poet’s dark skin and its contribution to her complicated reception. While engraving’s abstractions had long been used to commemorate idealized (white) individuals, an Enlightenment understanding of corporeal skin as a changeable surface meant that engraving’s linear syntax also lent itself to derogatory characterizations of Black skin as an “immoveable veil” that masks the expressions of Black subjects.
Article
Posted: 06/09/2022
Agnieszka Anna Ficek
.
"The Inca Empire on Parlor Walls."
Home Subjects
(2022).
Article
Posted: 06/06/2022
Katherine Calvin
.
"Overseeing Senegal: French Prints of the Late-Eighteenth-Century Slave Trade."
Journal18
(2022).
Article
Posted: 04/15/2022
Zachary Hudson, Andrew Zandt, April Katz, William Graves.
"From Dirca to design: printmaking with leatherwood (Dirca mexicana) bark paper."
Journal of Visual Art Practice
21, no. 1 (November 2021): 1-24.
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.
Article
Posted: 03/06/2022
, Dirk Imhof.
"The Rise and Fall of Charles de Mallery."
Print Quarterly
39, no. 1 (2022): 3-30.
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.
Article
Posted: 01/10/2022
Margherita Clavarino.
"Due antiche stampe liguri ritenute miracolose."
Grafica d'arte
XXXII, no. 127 (July 2021): 10-12.
Article
Posted: 01/09/2022
Rachel Skokowski.
"Cancelled Culture: Félix Vallotton’s Intimités."
Australian Journal of French Studies
59, no. 3 (July 2022): 225-236.
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.
Article
Posted: 01/09/2022
Rachel Skokowski.
"New Rules for Old Age: Gavarni, the Goncourts, and Les Lorettes Vieillies."
Australian Journal of French Studies
59, no. 1 (January 2022): 73–88.
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.
Article
Posted: 01/09/2022
Rachel Skokowski.
"Re-Fashioning the Monument du Costume : A New Examination of the 1793 Edition."
Études rétiviennes
48 (2016).
Article
Posted: 01/09/2022
Rachel Skokowski.
"The Needle and the Pen: Etching and the Goncourt Brothers’ Novels."
Nineteenth-Century French Studies
48.3-4 (June 2020): 294-311.
This article examines Jules and Edmond de Goncourt’s novels in the context of the nineteenth-century etching revival and the brothers’ personal experience as aquafortistes, proposing that their engagement with etching influenced their novels in three ways. First, it suggests that the fragmented narrative, structure, and style of the Goncourts’ novels draw on the same principles as nineteenth-century print albums, which similarly emphasized discontinuity and juxtaposition. Secondly, an investigation of the brothers’ use of Charles Méryon’s etchings in their novel Manette Salomon reveals their interest in both textual transpositions of Méryon’s style and the literary topos associated with his work. Finally, the article concludes by exploring how the Goncourt brothers incorporated vocabulary and techniques from etching into their écriture artiste, moving beyond prior readings of their novels in relation to painting and demonstrating the diversity of artistic inspiration for their writing.