Hieronymus Van Winghe, a canon at the cathedral in Tournai, came from a learned family and actively gathered texts and images that reflect a wide range of interests. Although few of the prints he collected are still preserved, records of his purchases via the Plantin-Moretus Press of Antwerp provide significant data as to how and what he collected. For, not only do they point to his reliance on the Galle family of print publishers for many of his acquisitions, but they also reveal numerous prints that he purchased at the end of his life. These last records provide valuable insights into not only Van Winghe’s own preferences, but also a glimpse of the general market for prints by artists from the Southern Netherlands in the early 17th century.

This essay reinterprets Karl Bodmer’s North American frontier watercolor portraits from the 1830s through their intended future destination and involvement in European print processes. I argue that Bodmer “painted print,” whereby the image separations required by print technologies shaped Bodmer’s working methods. Thus, Bodmer’s North American portraits are not complete representational spaces within themselves. Instead, their uneven completion, visual notations, blank backgrounds, and selected sections of detailed focus reflect their status as ever-moving image-objects within a larger print culture.

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Postmodernism is normally framed as a Western movement, with theoretical and philosophical roots in Europe. Scott’s essay links artistic postmodernism to the influence of Maoism in the West, specifically through the dissemination and absorption of the content and form of Maoist propaganda. Taking into consideration the broad significance of Mao and China for art and culture in the West in the second half of the twentieth-century, the essay comes to terms with the material effects of a global propaganda movement, and the remains of a personality cult, that currently transcends the traditional political categories of the Left and the Right.