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.
Territorial Hues: The Color Print and Washington State, 1920-1960 will consist of prints that display the cultural and stylistic influences used by Washington State artists to produce highly exceptional works that reflect the color, light, and atmosphere that is unique to this region. The book focuses on several mediums including color woodcut, intaglio, serigraphy, and lithography. The influences of Japanese prints and regional appropriations of international movements will be examined as well as the local production of white-line prints.
This volume of late 16th and early 17th century love emblems--including mythological, allegorical, and even erotic prints--was amassed around 1620 by an unknown lover. These 143 folios are reproduced in their original size (25.3 x 18.5 cm), and are joined by an Introduction and accompanying descriptions by the author.
The art of Japanese woodblock printing, known as ukiyo-e ("pictures of the floating world"), reflects the rich history and way of life in Japan hundreds of years ago. Ukiyo-e: The Art of the Japanese Print takes a thematic approach to this iconic Japanese art form, considering prints by subject matter: geisha and courtesans, kabuki actors, sumo wrestlers, erotica, nature, historical subjects and even images of foreigners in Japan.An artist himself, author Frederick Harris--a well-known American collector who lived in Japan for 50 years--pays special attention to the methods and materials employed in Japanese printmaking. The book traces the evolution of ukiyo-e from its origins in metropolitan Edo (Tokyo) art culture as black and white illustrations, to delicate two-color prints and multicolored designs. Advice to admirers on how to collect, care for, view and buy Japanese ukiyo-e woodblock prints rounds out this book of charming, carefully selected prints.
Recognized as one of the most interesting and vibrant artists of the Edo period, Utagawa Kuniyoshi (1797-1861) is a major exponent of ukiyo-e. His fame is tied to the series of polychrome xylographs that illustrate the 108 heroes from the novel Suikoden (Brigands), a late-18th-century bestseller in China and Japan that described a band of brigands who defend those oppressed by injustice and government corruption. The book conjures imagery of violent, powerful warriors with muscular tattooed bodies--imagery that today inspires manga, anime, tattoo artists and illustrators across the world. Kuniyoshi embraced the genre of warrior prints, but he was also interested in portraits of female beauties, kabuki actors, landscapes, children and ghosts, another greatly admired genre in Japan. Nonetheless, his name is above all associated with Arcimboldo-like composite figures, figures within figures and parodies of stories and battles. His images are fantastical, baroque, rich in color and detail, with imposing characters and dynamic actions. This book surveys the work of a versatile and intriguing figure whose impressive technique birthed a school that continued for generations.
The continual demand among graphic artists for floral and botanical illustrations, combined with the perennial popularity of the Victorian style, have inspired this practical royalty-free collection. Artist Carol Belanger Grafton has selected 344 handsome and botanically accurate wood engravings from two notable botanical classics: Paxton's Flower Garden by John Lindley and Sir Joseph Paxton, 1850-53; and The Natural History of Plants: Their Forms, Growth, Reproduction, and Distribution by Anton Kerner von Marilaun and F. W. Oliver, 1902.Illustrations include exquisitely detailed renderings of flowers and other plant features of exotic specimens from around the world: passionflower, baobab, spider lily, hop, quaking grass, mourning cypress, American mangrove, wayfaring tree, Christmas rose, Indian rhododendron, false indigo, winged pea, Persian walnut. cat's-claw mimosa, Bhutan cypress, and many more.The engravings encompass a broad spectrum of plant forms: trees, shrubs, aquatic and climbing plants, evergreens, vines, brushes, herbs, various perennials, and others. Orchids are especially well represented; over 10 percent of the illustrations in this volume depict orchids. Each illustration is accompanied by an identifying caption that provides the scientific name and a brief description of the plant, its native region, and if it is a flower, the coloration of the blossoms.The clarity and accuracy of these engravings is striking; they are well-suited to reproduction for almost any graphic purpose. Moreover, all illlustrations are royalty-free; no prior permission or fee is required for their use. Invaluable to graphic artists in need of a comprehensive archive of unusual floral illustrations, this versatile reference will delight botanists, naturalists, flower lovers, and any admirer of exotic plants that are depicted with the meticulous clarity and detail of fine engravings.
Maggie Nelson provides the first extended consideration of the roles played by women in and around the New York School of poets, from the 1950s to the present, and offers unprecedented analyses of the work of Barbara Guest, Bernadette Mayer, Alice Notley, Eileen Myles, and abstract painter Joan Mitchell as well as a reconsideration of the work of many male New York School writers and artists from a feminist perspective.