Edited by John Ittmann; With essays by Warren Breckman, Mitchell B. Frank, Cordula Grewe, John Ittmann, Catriona MacLeod, and F. Carlo Schmid

From the 1770s through the 1840s, German, Austrian, and Swiss artists used the medium of printmaking to create works that synthesized poetry, literature, music, and the visual arts in new and captivating ways. Finding an eager audience in the growing number of educated middle-class collectors, printmakers experimented with modern technologies, such as lithography, and drew on the contemporary interest in regional folklore and traditional fairy tales to produce innovative compositions that both contributed to and reflected the dramatic cultural and political upheavals of the Romantic era. Featuring the work of more than 120 artists, including Casper David Friedrich, Ludwig Emil Grimm, Joseph Anton Koch, Philipp Otto Runge, and Johann Gottfried Schadow, this authoritative book contains many unique and never-before-published examples of prints from the Philadelphia Museum of Art’s unrivaled collection.

John Ittmann is the Kathy and Ted Fernberger Curator of Prints at the Philadelphia Museum of Art.

Floating Time: Chinese Prints, 1954-2002 brings together, for the first time, the University of Sydney Art Collection's ninty-three modern and contemporary Chinese prints. This substantial collection includes national prize-winning prints and works by internationally acclaimed artists, including Zhao Zongzao and Su Xinping. The half-century represented here reveals not only the development of the powerful woodcut tradition under Mao, but also the rapid expansion of printmaking as artists embraced a broader set of themes and more experimental techniques. Such developments reflect the tumultuous periods in which these works were produced and offer a unique and intimate glimpse into the lives of these fifty artists - a vastly different perspective from the familiar forms of contemporary Chinese art seen in better known international art circuits.

STEPHEN H. WHITEMAN is lecturer in Asian art in the Department of Art History and associate curator for China projects for the Chau Chak Wing Museum at the University of Sydney. MINERVA INWALD is a PhD candidate in the Department of History at the University of Sydney. BINGQING WEI is a PhD candidate in the Department of Art History at the University of Sydney. JOHN CLARK is professor emeritus in art history at the University of Sydney.

Suzanne Karr Schmidt's Interactive and Sculptural Printmaking in the Renaissance tells the story of a hands-on genre of prints: how innovative paper engineering redefined the relationship of early modern viewers to art, humanism, and science.

Interactive and sculptural prints pervaded the European reading market of the sixteenth and seventeenth centuries. Single sheets and book illustrations featured movable flaps and dials, and functioned as kits to build three-dimensional scientific instruments. These hybrid constructions—part text, part image, and part sculpture—engaged readers; so did the polemical, satirical, and, occasionally, erotic content. By manipulating dials and flaps, or building and using the instruments, viewers learned to think through images as well as words, interacting visually with desires, social critique, and knowledge itself.

Forthcoming publication expected October 2017.

The first comprehensive overview of Jasper Johns’s work in an innovative medium that the artist has singlehandedly redefined over the course of four decades

Jasper Johns (b. 1930) is arguably the most important living American artist, and his work is central to any history of postwar art. With extensive new scholarship based on original research and interviews with the artist, Jasper Johns: Catalogue Raisonne´ of the Monotypes provides the definitive account of his groundbreaking work in an intrinsically subversive medium situated between painting, drawing, and printmaking.

Susan Dackerman and Jennifer L. Roberts examine Johns’s innovative use of the printing press to create alterity, overturning monotype’s century-old reputation for expressive subjectivity. Featured in this volume are all 143 monotypes Johns made between 1954 and June 2015, most of them published here for the first time. Each work is generously illustrated in color and accompanied by complete cataloguing information, including technical specifications, provenance, exhibition history, and bibliographic references.

Susan Dackerman is Getty Scholar at the Getty Research Institute. Jennifer L. Roberts is professor of art history at Harvard University.

Forthcoming publication expected October 10, 2017.

This book presents the lithographs and screenprints edited by the ECAL/University of Art and Design Lausanne between 2007 and 2014. The corpus of some 70 prints produced during these seven years bears witness to the diversity of contemporary artistic approaches. John M Armleder, Pierre Charpin, Constance Guisset, Fabrice Gygi, Alex Hanimann, David Hominal, Helen Marten, Karim Noureldin, Mai-Thu Perret and Olivier Saudan reveal their preoccupation with the art of the print and the graphic resources available within the multiplied image.

Twenty-five years on from its inauguration at the Musée Jenisch Vevey, the Cabinet cantonal des estampes presents "La Passion Dürer", a celebration of one of the leading figures in the history of engraving. Collected in the 1970s by those convinced that the Canton of Vaud should have an institution dedicated to the art of printmaking, Albrecht Dürer of Nuremberg (1471-1528) is in some ways the starting point of the institution that now marks its anniversary.

This publication looks at the relationship between Dürer and Switzerland: featuring a complete presentation of the Dürer engravings conserved at Vevey, it also examines the ideas that emerged from his time in Basel and Zurich, the history of Dürer print collecting in Switzerland, and the reception of those works down the centuries.

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.

In late nineteenth-century France, more than a century after the introduction of color in printmaking, color became a major factor in the market success of lithography and other printmaking techniques. Published to accompany a major exhibition at the Musée Jenisch Vevey - Cabinet cantonal des estampes, "Enraptured by Color" offers a comprehensive compendium of color printmaking, with examples from all aspects of the trade. In a detailed introduction, curator Laurence Schmidlin takes readers through the process of producing a color engraving and explains the differences between color engravings and color prints. Additional essays, illustrated with rare documents and representative examples from the period, expand on the technical processes behind polychromy, or the use of several colors, and its effect on artistic production in France around 1890. Finally, the book explores, through a wealth of color illustrations, how color was exploited by important artists of the period, such as Pierre Bonnard, Paul Gauguin, Odilon Redon, Paul Signac, Édouard Vuillard, and Henri de Toulouse-Lautrec.

Cassiano dal Pozzo’s print collection was unique in its scope and organisation. Some 3,000 prints are known, in nine albums and many loose impressions mainly divided between the British Library and the Royal Library at Windsor Castle. Cassiano (1588–1657) and his younger brother Carlo Antonio dal Pozzo (1606–89) did not commission printmakers to engrave plates (as they did drawings), buying instead what was available from the flourishing printmaking industry of the time. The material they collected was essentially documentary, and they organised the collection by subject matter: costumes, religious processions and ceremonies, tombs and catafalques, the history of St Peter’s, architecture, topography, maps and military engagements, portraits, social and humorous subjects, and so on. This first part of the catalogue presents ceremonies, costumes, portrait and genre prints.

A remarkable proportion of the prints are not to be found in the existing literature, and many constitute additions to the known works of major printmakers. Indeed Cassiano’s collection has been described as ‘so far outside the common range of print collectors both in the seventeenth century and today that a very high proportion of its contents is excessively rare and will only with great difficulty be found elsewhere’.

This ground-breaking catalogue will be an essential resource not only for students of prints, but for all those studying European visual culture in the seventeenth century.

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