Jos Guadalupe Posada (1852-1913) was Mexico's most illustrious graphic artist. For over forty years he worked tirelessly as an incorruptible and truly popular artist, illustrating cookbooks and fortune-telling books, collections of songs and riddles, periodicals and newspapers, children's books and novels, and most of all famous broadsides that were distributed throughout the country. After his death he was venerated by the artists of the new generation -- Rivera, Orozco, and many others, who realized that he had both saved and renewed the art of engraving in Mexico, and incorporated much of Posada's imagery into their own work.
Here are close to 300 of Posada's best engravings, all done for the printer and publisher A. Vanegas Arroyo in Mexico City. Posada worked in two techniques -- engraving on type metal with a many-pointed burin and, later, relief etching on zinc. The broadsides he illustrated commemorated all sorts of occasions -- disasters, political events, crimes, and miracles -- or they glorified great popular heroes like Zapata. Posada was known for his calaveras -- skeletons that cavorted, ate and drank, rode bicycles and horses, wielded swords and daggers, or were revolutionaries, streetcleaners, dishwashers, and almost everything else. This was traditional art for All Souls' Day, the Mexican Day of the Dead, but in Posada's hands it became extremely versatile, sometimes an instrument of social and political satire, sometimes a sympathetic portrait of a revolutionary, sometimes a comic, cartoon-like memento mori. He did engravings of murders, suicides, catastrophes, robberies, and executions, as well as of snake-men, giant snails, and other grotesques and deformation. He pictured the daily pleasures and chagrins of the people from a proletarian point of view, and with overflowing imaginativeness. There is brutality and horror in his art, but there is also humor, political consciousness, and a sprawling, immediate vitality.
This edition includes explanatory notes and commentary, often giving precise topical meaning to what otherwise appears vague or allegorical. It presents all of Posada's various themes, and all of the many forms in which he worked in his maturity. It is hoped that through it he will gain the wider audience, especially in America, that he deserves.
"The Weavers," a landmark of class-conscious art, which depicts, in a series of prints, the plight of the worker and his age-long struggle to better his lot. "Death as a Friend," showing a man greeting his death as an old friend, with a hysterical mixture of joy and terror. "The People," in which a mother shields her offspring from phantoms of hate, poverty, and ignorance -- and symbolizes woman as creator, begetter of the human race, link between past and future.
These works represent the recurrent themes which most characterize the work of K the Kollwitz: social consciousness and a sense of the suffering of mankind, an urge to voice the basic maternal attitude, and a preoccupation with death. She has been called a propagandist, a crusader, yet her art is essentially apolitical. Her concern was not with partisan causes, but rather with universal rights.
Fundamentally a dramatic artist, K the Kollwitz (1867-1945) brought to each of her works an uncanny ability to evoke human emotions through subtle gestures and facial expressions. The reactions of her characters were psychologically true primarily because she tested them on herself.
The present collection contains 83 of Mrs. Kollwitz's finest works, including the last great print cycles: "The Weavers" of 1898; "The Peasant War" of 1908; "War" of 1925; and "Death" of 1935. These selections provide a full panorama of Mrs. Kollwitz's development as a master of the graphic techniques of etching, woodcutting and lithography. Over 69 of the illustrations have been rephotographed from the original works specially for this edition, and new techniques in photolithography and a larger format have resulted in reproductions that are as close as possible to the prints and drawings themselves.
Popularized in the 1960s by Pop artists such as Andy Warhol, screen printing remains a favorite of artists due to its remarkable versatility and relatively low cost. In Pulled, best-selling author Mike Perry (Hand Job, Over and Over) collects the work of more than forty of today's most talented designers who are, in their own way, pushing the boundaries of this dynamic medium.
Rembrandt van Rijn (1606-69) was restlessly experimental in his printmaking; he manipulated his copperplates in unprecedented ways in order to achieve an image that was often in flux. Rembrandt was the first artist to treat the print medium as a means of crafting visibly changing images, even as his prints were increasingly received in the market as finished works in their own right. Rembrandt's Changing Impressions, published to accompany an exhibition at the Miriam and Ira D. Wallach Art Gallery at Columbia University, considers this aspect of Rembrandt's art, and its position in the 17th-century print market, through the comprehensive exploration of 18 of his most dramatically altered works--the first time in more than four decades that such an investigation has been undertaken. Each print's multiple impressions are displayed side by side, giving readers the opportunity to examine their range, power and nuance.
Risography, named after the Japanese firm Riso, is a digital printing process based on screen printing techniques that was developed in the transition phase from mechanical to digital printing. Although the printer looks like a copying machine, the colors are transferred onto the paper without the use of heat or chemicals, saving energy and making the process ecologically friendly. The Risograph printer is at the forefront of a new creative explosion. More and more artists and designers all over the world are rediscovering this stencil duplicator for themselves, sparking a unique and unexpected renaissance in analogue printing. And Risography is just the most prominent technique in a new wave of cutting-edge contemporary design, one that is also recuperating forgotten technologies such as the Gestetner and the mimeograph. A comprehensive introduction that addresses past, present and future is followed by an essay about the key pioneers in the contemporary risography scene. In the chapter Risoworld notable risography-oriented publishers, printers and design studies from around the world are presented. At the heart of the volume are fabulous, hugely diverse examples of Riso-printing, including postcards, magazines, posters, flyers, and experimental printed products, all of which inspire through vivacity of colour, unique textures and, above all, the perfectly imperfect authenticity of Risography.
Invented in the late eighteenth century, lithography introduced a new process and new opportunities for the creation and circulation of printed images. Artists, printers, and publishers embraced the new medium for its relative ease and economic advantages as compared with the established printmaking media of woodcut, engraving, and etching. Taking root in Paris after the fall of Napoleon's empire, the art and industry of lithography grew in tandem with the city as it became Europe's artistic and urban capital over the course of the nineteenth century. Lithographs played a distinct role in both documenting and advancing--not to mention satirizing--the various competing art movements of the period.
Known for its collection of French prints and posters, the Zimmerli Art Museum at Rutgers University has rich holdings of lithographs made over the course of the 1800s, from lithography's early years in Paris to the iconic color posters of the 1890s. This fully illustrated catalog showcases the highlights of the collection, offering insight into lithography's fascinating role in the beginnings of modern mass media.
Twenty-four all-occasion postcards feature the cheerful and vibrant artwork of Brazilian artist Romero Britto in a unique collection that celebrates love, peace, and friendship. Write personal notes to spread happiness and cheer to those you love and care about Marginal prompts accompany each postcard, guiding you to reflect on the people in your life who mean the most to you and encouraging you to share how you feel.
- 24 all-occasion postcards
- Romero Britto's artwork shines in these glossy prints, with a matte finish on the reverse to make letter-writing hassle free
- Perforated pages make these 4x6 cards easy to remove and send
For the past fifty years, Tamarind has breathed life into the once-underappreciated art of lithography. From Josef Albers and Philip Guston in the 1960s, to Ed Ruscha and Kiki Smith in recent decades, contemporary artists have teamed up with professional printmakers at Tamarind to create an archive of exceptional lithographs.
In 1960, in an effort to generate interest in lithography and make it accessible to artists, June Wayne founded Tamarind Lithography Workshop, Inc., in Albuquerque, New Mexico. Fifty years and many thousands of prints later, it is difficult to imagine what lithography in the United States would be without the influence of the renowned Tamarind. Showcasing the broad aesthetic capabilities of lithography, Tamarind Touchstones demonstrates the diversity of the artists who have embraced lithography and their increased facility and comfort with the medium.
Highlighting the ninety lithographs in the exhibition, reproduced in full color, this catalogue also includes glimpses into the recent activities of Tamarind, the psyche of the professional printmaker, and the curatorial perspective that guided the selection for this National Endowment for the Arts--funded traveling exhibition.
With its trademark passion, Tamarind enters the next fifty years committed to its original goals to invigorate and fortify lithography and to expand its reach throughout the world.