Tsukioka Yoshitoshi's triptychs and portrait series of the 1860s were predominatly musha-e ("warrior prints"), often with added mythological elements, and invariably drawn from Japanese military history, mostly from the 12th to 16th centuries. Yoshitoshi's major musha-e series, in terms of both its scope and its dynamic visual experimentation, remains Kaidai hyaku senso, or 100 Dogs Of War. Yoshitoshi was reputedly driven to create this series in 1868 after witnessing first-hand the bloody Battle of Ueno, a decisive clash of the civil war in Japan. Although inspired by recent events, the series again depicted warriors from Japanese history, showing some clasping bloody severed heads as trophies of war, others with their own viscera spilling out from the "belly cut" of seppuku (ritual suicide), others in the heat of battle firing guns, hurling spears, wielding swords or dodging bullets. Every aspect of war is represented. There are 65 known completed prints from the series, and several surviving drawings and sketches for designs which apparently never reached fruition; failure to complete the set is attributed both to censorship and to the nervous breakdown which Yoshitoshi reportedly experienced in 1869, an event which resulted in his virtual disappearance from the ukiyo-e scene for the following two years. This Ukiyo-e Master Special edition of Yoshitoshi's 100 Dogs Of War contains not only Yoshitoshi's full set of 65 completed battle prints, reproduced in full-size and full-colour, but also several fascinating preparatory drawings for unfinished designs. The collection also features an extensive illustrated introduction on Yoshitoshi's warrior prints from 1853 to 1889, bringing the total number of colour reproductions in the book to over 90. Ukiyo-e Master Specials: presenting individual art series by the greatest print-designers and painters of Edo-period and Meiji-period Japan.

The most extensive collection of nature printing ever assembled, featuring 43 different printing techniques. Hailed as the earliest precursor to photography, nature printing is the practice of using impressions from the surface of a natural object such as leaves, flowering plants, ferns, seaweed, snakes and more to produce an image. The Zucker Collection is the most extensive collection of nature prints ever assembled, with more than 13,000 images across 120 rare and seminal works, including journals, published books, unique manuscripts, American Currency, and instructional texts related to nature printing from 1733 to 1902. For the first time, readers will be able to see these nature prints presented side by side, enabling unique comparisons while creating a visually stunning journey through the developments over a 150 year period in printing methods including photography with examples of cyanotypes. Capturing Nature is the ultimate guide to Nature Printing, and a beautiful reference work for scholars, artists, designers, botanists and anyone interested in nature, botanical illustration and printing.

Knight, Death and Devil; Melencolia I, and more-all Dürer's known works in all three media, including 6 works formerly attributed to him. 120 plates.

Weimin He's 324 ink drawings, pen sketches and woodblock prints comprise an intimate record of the progress of construction in the newly designed Ashmolean Museum that opened late last year. An unusual approach to documentation in the age of digital photography, the catalogue provides a delightful art experience for readers who will never set foot in the Ashmolean, which is the museum for the University of Oxford. Weimin has drawn workers lifting roof beams, welding metal rods and pouring cement into the mixer. He gives us behind-the-scenes portraits of museum personnel, making each individual come alive, for example, an objects conservator at her work and a researcher in the prints room at his. An artist-in-residence at the museum and an art scholar, Weimin employed Chinese drawing and woodblock printmaking methods. His portraits were drawn on pi, xuan papers or album leaves, with Chinese brushes and inks that have been used for over a millennium. Seven of the prints and the catalogue were presented to Queen Elizabeth for the museum's opening.

In the early 19th century, artists and printers embraced the new medium of lithography, an innovative method to mass - produce and distribute images. 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, including examples from lithography's early years in Paris to iconic color posters from the 1890s. Invented around 1796, lithography introduced a new proc ess 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 around 1815 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 play ed a distinct role in both documenting and advancing (and often satirizing) the various and competing art movements of the period as publishers responded to the unprecedented demand for printed images of all types.

The Carved Line is about printmaking and printmakers in New Mexico over a significant period of timefrom 1890 to present. It features block prints, including new works, by New Mexicos best-known printmakers and brings to the forefront little-known artists deserving wide recognition and a place in New Mexicos art historical canon. This volume includes 120 beautifully reproduced prints by internationally known New Mexico artists including Gustave Baumann, Willard Clark, Howard Cook, Betty Hahn, T. C. Cannon, Fritz Scholder, Frederick OHara, Adja Yunkers, and previously unpublished works by other artists such as Juan Pino, Margaret Herrera Chavez, Tina Fuentes, Yoshiko Shimano, and Ruth Connely. The extraordinary range of block prints in this book shows the types of production, sociopolitical and cultural influences, and wide variety of subjects in New Mexico.

Rankafu showcases for the first time an exceptional set of orchid woodblock prints from early 20th century Japan. Considered masterworks of botanical art, the Rankafu prints are visually stunning and reproduced here in full colour, showcasing the fine details of this spectacular art form. Accompanying these stunning prints, the authors tell the story of Shotaro Kaga, a pioneering horticulturist whose orchid collection and breeding programme started a craze in Japan that continues to this day. Kaga and his gifted orchid gardener, Kenkichi Goto were highly skilled orchid growers and developed hundreds of spectacular orchid hybrids. Kaga's interest in orchids was sparked by his visit to Kew in 1910 where he first saw tropical orchids in the extensive greenhouses, and visited many famous orchid nurseries such as Sander & Sons, from whom he would buy hundreds of plants over the coming decades. This book is the most comprehensive work to date on Rankafu and is unrivalled in its breadth of information and research. It is a beautiful book that will appeal to orchid fanatics and lovers of botanical art, as well as those with an interest in 20th century Japan and the artistic process of making Japanese woodblock prints. With a foreword by Phillip Cribb, leading orchid expert and author of many orchid books.

Swiss artist Franz Gertsch, born 1930, is one of the most important exponents of photorealism worldwide. Yet unlike many of his fellow artists, he takes liberties when translating a photograph into one of his large-format paintings or prints, thus animating his depictions of human faces or landscapes. Ruschegg, created in 1988, represents a landmark in Gertsch's oeuvre. It is both his first attempt in woodcut for a landscape, and his first large-format work in that genre. Abandoning painting for nearly a decade as of 1986, he developed a special woodcut technique. Having worked in portraiture almost exclusively for many years, Gertsch now begins his exploration of nature. Starting from a view of his garden in the Swiss village of Ruschegg, Gertsch singles out some of its elements, such as a footpath, rocks, shrubs and trees, grass and leaves, taking them as individual motifs first for woodcuts and later for monumental 'portraits' of such pieces of nature. Thus, Ruschegg also stands for Gertsch's movement away from the representation of humans to that of nature, just as it links his later work with the landscape studies of his early years. Text in English and German.

Christiane Baumgartner: Another Country complements the artist's first major M useum exhibition in the U.S. and offers an in - depth introduction to the artist's work at mid - career. Baumgartner is best known for monumental woodcuts, handcarved prints that literally and conceptually expand the traditional boundaries of the medium beyond expectation. Leipzig - based artist Christiane Baumgartner (b. 1967) works at the intersection of old and new media to expand the conceptual and technical capacities of printmaking. Sourcing images from cinema and TV or from her own photographs and videos, she hand - carves woodcuts that defy convention and expectation. Often monumental in scale or undertaken in large series, the work is about speed and transmission, about human sight and its elusive capture, about cultural memory and modes of representation. Essays contextualise the work in relation to German printmaking and the Leipzig school; an interview with the artist surveys her praxis at mid - career.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1954.

Getting Up for the People tells the story of the Assembly of Revolutionary Artists of Oaxaca (ASARO) by remixing their own images and words with curatorial descriptions. Part of a long tradition of socially-conscious Mexican art, ASARO gives respect to Mexican national icons; however, their themes are also global, entering contemporary debates on issues of corporate greed, genetically modified organisms, violence against women and abuses of natural resources. In 2006 ASARO formed as part of a broader social movement, and now they enjoy international recognition.

A record of every print Freud made, from early linocuts of the 1930s to his last etching published in 2007 This first volume of the Lucian Freud catalogue raisonne focuses on the artist's prints. The only complete volume of Freud's prints, the book builds upon the work of earlier cataloguers and adds much new material which has come to light since the artist's death. The volume records every print Freud made, from the early linocuts of the 1930s to his last etching published in 2007. Each work-including uneditioned etchings and unique proofs-is reproduced and fully catalogued by Toby Treves. Treves's remarks include clear, precise technical detail for specialists and are informed by his knowledge of the wider oeuvre. An essay by the critic and Freud specialist Sebastian Smee, and an account of working with Freud by his main printmaker, Marc Balakjian, provide further insights into this part of the artist's oeuvre. Distributed for Modern Art Press

Very thorough, step-by-step coverage, from printing simple monograms to converting photographs to block prints and printing in two or more colors. Lettering, silhouettes, borders, and other basic techniques, plus inks, materials, projects. 175 illustrations. "...one of the really fine books on that subject."-Grand Junction (Colorado) Sentinel.

This updated third edition explores new techniques in digital and 3D printing, as well as refreshing older techniques such as mono-printing. Printing has become a common part of the ceramic artist's practice and today there are more possibilities than ever before. From low-tech mono-prints to digital laser decal, it is now possible to employ a range of techniques to print on clay and vitreous surfaces. With the ongoing advancement of new technologies and more developed studio-based transfer processes artists continue to push the boundaries of the medium. In this comprehensive update of his popular Ceramics Handbook title, Paul Scott explains the historical context for contemporary printed ceramics before explaining the principles of core techniques and their application in the studio. He explores photographic processes, as well as the new opportunities presented by digital technology, including digital and 3D printing. Illustrated with brand new images of beautiful works by leading artists working in printed ceramics, Ceramics and Print is a must-read guide for artists and makers interested in this ever-developing field.