Studienarbeit aus dem Jahr 1998 im Fachbereich Kunst - Grafik, Druck, Note: 2,0, Universitat Karlsruhe (TH) (Institut fur Kunstgeschichte), Veranstaltung: Weiterfuhrendes Seminar: George Grosz, 10 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: George Grosz wurde am 26. Juli 1893 als Georg Ehrenfried Gross in Berlin geboren und ist der kritischste Zeichner Deutschlands in der Zeit von Beginn des ersten Weltkrieges bis zum Ausbruch des zweiten Weltkrieges. Die vorliegende Arbeit zeigt kurz die politische Situation wahrend der Vorkriegs- und Kriegsjahre des ersten Weltkrieges und die kunstlerische Entwicklung von Georg Grosz anhand seines Fruhwerks in dieser Zeit. Vorwiegend wird aus seine Zeichnungen eingegangen, weil sie als Basis aller druckgraphischen Werke und Gemalde dienen. Sie sind die Quelle, aus der er schopft, und aus der Zeit bis 1918 sind 41 erfasst. Wenn auch in seinem Fruhwerk keine politische Haltung formuliert ist, so zeigt doch seine fruhe Beschaftigung mit dem Thema Mord seine Sensibilitat fur zukunftige Ereignisse. Der Massenmord an der Bevolkerung ist eine Erfahrung, die es vor dem Ersten Weltkrieg in diesen Ausmassen nicht gegeben hat. Vorrangig wird anhand dieses Sujets sein Fruhwerk erlautert, da sein Reifeprozess an diesen Werken am deutlichsten erkennbar ist. Der Endpunkt der Betrachtung seines Fruhwerks ist das Jahr 1

Studienarbeit aus dem Jahr 2006 im Fachbereich Kunst - Grafik, Druck, Note: 1-2, Rheinische Friedrich-Wilhelms-Universitat Bonn (Kunsthistorisches Institut), Veranstaltung: Proseminar: Das druckgraphische Werk Albrecht Durers, 10 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Melencolia I" gehort neben Der grosse Reiter" und Hieronymus im Gehaus" zu den drei Meisterstichen Albrecht Durers, die allesamt in den Jahren 1513 und 1514 entstanden sind. Kein anderes Werk hat in der kunsthistorischen Forschung so viele Anschauungen, Deutungen und kontroverse Interpretationen erfahren, wie dieser Kupferstich. Durer gelang es, 1514 ein Meisterwerk zu schaffen, dessen einzelne Bildelemente sondiert zwar interpretierbar sind, das sich jedoch einer zusammenhangenden, vollendeten Bildinterpretation entzieht. Unzahlige Kunsthistoriker versuchten dieses Werk Durers zu analysieren, doch keiner von ihnen kam zu einer vollstandigen und eindeutigen ikonologischen Analyse. Ziel dieser Arbeit ist es, eine Darstellung der Temperamentenlehre bis zur Zeit Durers zu liefern, insbesondere die Entwicklung des Melancholikers. Des Weiteren werde ich eine Interpretation der einzelnen Bildelemente, beziehungsweise des ganzen Stiches vornehmen, die sich auf dieses Temperament bezieht

Studienarbeit aus dem Jahr 2004 im Fachbereich Kunst - Grafik, Druck, Note: 2,0, Universitat Luneburg (Institut fur Kunst und Kunstdidaktik), 6 Quellen im Literaturverzeichnis, Sprache: Deutsch, Anmerkungen: Kurzer Uberblick uber die elementaren Drucktechniken., Abstract: Mit der Erfindung des Bilddruckes war gegen Ende des 14. Jahrhunderts eine neue Ara der Menschheitsgeschichte angebrochen, deren Bedeutung hochstens mit jener der Erfindung des Buchdruckes ... durch Johannes Gutenberg um 1455 zu vergleichen ist. ... Das Wesen der Kunst des Bilddruckes liegt in der nur ihm eigenen Ausdrucksmoglichkeiten der graphischen Verfahren. Jeder Umgang mit Holz und mit Schneidemessern, mit Kupferplatten und Lithosteinen, mit Schablonen, Sieben, lichtempfindlichen Schichten, mit Nadeln, Kreiden, Sauren und Tuschen besitzt seine eigene Charakteristik und jedes Entstehen eines Werkes seine eigene Faszination, die dem Ergebnis anhaftet: Sei dies nun bei den Hochdrucken die Kraft ihrer geschnittenen Schwunge, die strenge Schonheit des Holzes selbst, seien es in den Tiefdrucken die edlen Linienzuge des reinen Strichs oder die freie Lebhaftigkeit und Intensitat der Radierung, das tiefe Dunkel und die subtilen Reize der Aquatinta ebenso wie das differenzierte Schwarzweiss mit all den zeichnerischen und flachigen Werten der Lithographie oder schliesslich die kaum ausschopfbaren Skalen der Farbtechniken. Die Kunst des Druckens steht anderen Moglichkeiten kunstlerischen Ausdrucks in nichts nach." Dieses Zitat macht deutlich, dass die Druckgraphik eine Fulle von Moglichkeiten bietet. Im Folgenden werde ich den Linol- und Holzschnitt (Hochdruck), die Strichatzung (Tiefdruck) sowie die Monotypie naher beschrieben, indem ich zunachst jeweils kurz auf das ubergeordnete Verfahren eingehe. Anschliessend wird ich die einzelnen Drucktechniken genauer erklaren. Dazu werde ich zu verwendende Materialien nennen und je beschreiben, wie man von der Vorlage zum Druck gelangt. Auch werde ich

Magisterarbeit aus dem Jahr 2007 im Fachbereich Kunst - Grafik, Druck, Note: 1,0, Philipps-Universitat Marburg (Kunstgeschichtliches Institut), 77 Quellen im Literaturverzeichnis, Sprache: Deutsch, Anmerkungen: Kommentar des Gutachters: Sehr kluge Analyse des Gegenstandes, die den Stand der Forschung um einige Fragestellungen erweitert. Hervorragende Bildbeschreibungen., Abstract: Heute beschreiben Historiker ihn als die Urkatastrophe des 20. Jahrhunderts" (Burgdorff u. Wiegrefe). Der Erste Weltkrieg sprengte alle bisher gultigen Kategorien und wurde zum Paradigma der Gewalterfahrung. Neueste Waffentechniken forderten die maximale Zerstorung. Der zermurbende Stellungs- und Grabenkrieg, der vor allem die Westfront bestimmte, verwustete ganze Landstriche und forderte insgesamt uber 3 Millionen tote Soldaten auf allen Seiten. Otto Dix, Kunstler und Soldat, kehrte nach vier Jahren Kriegsdienst an der Front unversehrt zuruck. Das Erleben des Krieges pragte fortan sein kunstlerisches Schaffen. Diese Arbeit widmet sich seinem 1924 veroffentlichten Radierzyklus "Der Krieg," in dem er das Sterben und Vegetieren der Soldaten in den Schutzengraben des Ersten Weltkrieges schilderte. Es wird die ideologisch gefuhrte Debatte dargestellt, die sich seit der Veroffentlichung 1924 um die Radierungen entspann und der Bogen bis zum gegenwartige Stand der Forschung gespannt. Die Analyse legt u.a. die kunstlerischen Strategien dar, die Dix entwickelte, um dem Betrachter glaubhaft zu vermitteln, hier die Wirklichkeit, wie er sie erfahren hatte, zu schildern. So integrierte Dix beispielsweise in seine Bildkompositionen charakteristische Asthetiken von Reportagefotografien, um den Authentizitateindruck des Dargestellten zu verstarken. Aber auch der Vergleich mit zeitgenossischer Kriegsliteratur spielt in diesem Zusammenhang eine Rolle. Letztlich wird der Frage nachgegangen, inwiefern die 50 Radierungen des Zyklus eine Reflexion und Visualisierung der kriegsbedingten Traumatisierung des

A fascinating graphic novel that details the art and science of screenprinting from inception to printed t-shirts! It teaches you how to build a screen, burn an image, test how things are going, pull ink, wash out screens, and creative ideas. A true joy to see the exaggerated illustrations while learning such a useful and practical craft. How to turn your home into a t-shirt factory! Essential for people who don't know how to screenprint or those who are a bit rusty. The expanded sections talk about John's personal experience selling printed shirts on the street in Berkeley and working on a t-shirt printshop. Crucial information and entertainment.

"This is a significant and highly original contribution. . . . Semmerling provides a new way for both the specialist and the non-specialist in Israeli-Palestinian relations to understand the wide range of claims to national identity, as well as the biases informing those claims." -- John R. Clarke, Annie Laurie Howard Regents Professor of Art History, University of Texas at Austin

Searing images of suicide bombings and retaliatory strikes now define the Israeli-Palestinian conflict for many Westerners, but television and print media are not the only visual realms in which the conflict is playing out. Even tourist postcards and greeting cards have been pressed into service as vehicles through which Israelis and Palestinians present competing visions of national selfhood and conflicting claims to their common homeland.

In this book, Tim Jon Semmerling explores how Israelis and Palestinians have recently used postcards and greeting cards to present images of the national self, to build national awareness and reinforce nationalist ideologies, and to gain international acceptance. He discusses and displays the works of numerous postcard/greeting card manufacturers, artists, and photographers and identifies the symbolic choices in their postcards, how the choices are arranged into messages, what the messages convey and to whom, and who benefits and loses in these presentations of national self. Semmerling convincingly demonstrates that, far from being ephemeral, Israeli and Palestinian postcards constitute an important arena of struggle over visual signs and the power to produce reality.

Printmaking can be useful to art therapists in a wide range of settings, for example, the incremental process can be helpful in groupwork. This book describes the therapeutic advantages of printmaking and also describes its roots outside art therapy.

Hailed as a classic in music studies when it was first published in 1977, Early Downhome Blues is a detailed look at traditional country blues artists and their work. Combining musical analysis and cultural history approaches, Titon examines the origins of downhome blues in African American society. He also explores what happened to the art form when the blues were commercially recorded and became part of the larger American culture. From forty-seven musical transcriptions, Titon derives a grammar of early downhome blues melody. His book is enriched with the recollections of blues performers, audience members, and those working in the recording industry. In a new afterword, Titon reflects on the genesis of this book in the blues revival of the 1960s and the politics of tourism in the current revival under way. |Kalman examines the crucial period of 1967-1970 at Yale Law School, when the mainstream liberal faculty was challenged by left-liberal students who aimed to unlock the democratic visions of law and social change they associated with Yale's legal realists of the 1930s. Law students during this phase of the school's history included Bill Clinton, Hillary Rodham Clinton, and Clarence Thomas.

Maxfield Parrish was one of the rare artists whose work was immensely popular during his own lifetime. His brilliant use of color, attention to detail, and flights of fancy enchanted the public. His images were used to illustrate books and magazines, advertise products, grace calendars, and adorn walls. The Collectible Maxfield Parrish presents the great wealth and beauty of Maxfield Parrish's work in beautiful full-color images. This new book is focused on those items that are available in the market place and can be collected by the average person with a little diligence and investment of time and money. This is an essential reference for Parrish collectors and for any one who has an interest in the development of the illustrator's art in America.

Die Staatliche Graphische Sammlung Munchen besitzt einen der weltweit bedeutendsten Bestande an deutschen Einblattholzschnitten des 15. Jahrhunderts. Sie werden in diesem Bestandskatalog erstmals in einem Buch vorgestellt. Die ersten europaischen Holzschnitte entstanden um 1400. Abbildungen wurden nun fur weite Kreise erreichbar und erschwinglich. Durch Gebrauch rasch verschlissen, zahlen diese fruhen Drucke heute zu den rarsten Kostbarkeiten. Aber nicht nur als historische Belege sind diese fruhen Blatter bedeutend. Es sind uberragende Meisterwerke linearer Ausdruckskraft, die zu den altesten Werken ihrer Art zahlen. Keine Sammlung der Welt vermag die Fruhzeit des Holzschnitts so uberragend zu belegen wie das Munchner Kabinett: Die Wiege der europaischen Druckgraphik wird in diesem Buch zuganglich.

Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Dürer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, ‘death and the maiden’ and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from—and contributed to—the contemporary understanding of witchcraft as a heresy that stemmed from natural ‘feminine defect,’ a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung’s iconic witchcraft imagery, this book is essential reading for historians of art, culture and gender relations in the late medieval and early modern periods.

Max Liebermann (1847-1935)-a co-founder of the Berlin Secession and President of the Akademie der Kunste for many years-was one of the most important artists of his generation. In addition to his impressive painting oeuvre, Liebermann's graphic prints also assume an important role: over 600 motifs as etchings, lithographs, and woodcuts are found today in museum and private collections around the world. This catalogue provides an introduction to Liebermann's graphic prints based on selected works from the collection of the Max Liebermann Society Berlin. It also presents common printmaking techniques and provides a detailed examination of the development of the graphic prints by the most signifi cant representative of Impressionism. The focus is thus on the history of the collecting and exhibiting of his print graphic works as well as the research on these works.

Im Italien des 14. und 15. Jahrhunderts avancierte das formmimetische Abzeichnen zu einer zentralen Tatigkeit in den Kunstlerwerkstatten. OEkonomisierungsprozesse korrelierten mit einem neuartigen Bedurfnis nach Bildpropaganda, aber auch mit der Stilisierung bestimmter Kunstler und ihrer Werke zu originellen und kanonischen Vorbildern. So entstanden Zeichnungen, die den Anspruch erheben, das Werk einer individuellen Kunstlerpersoenlichkeit als abgeloestes Ganzes (opus absolutum) zu transportieren: Im Unterschied zu zeichenhaft verweisenden Kopien scheint hier jedes Bildelement zwingend. Diese Tendenz steht in einem wechselvollen Spannungsverhaltnis zu weiterlebenden Traditionen, in denen Vorbildliches als Muster (exemplum) weitergereicht oder bildthematische Vorgaben als iconographic guides nutzbar gemacht wurden.

As the first serious study and presentation of the Sheldon Museum of Art's collection of works on paper, this catalog introduces students and art lovers alike to the largest, most international area of the museum's holdings, which includes prints and drawings from the European Renaissance to the present. Like the other collection catalogs in the American Transnationalism series, this publication draws together a team of distinguished scholars and features some of the museum's most iconic works. These include rarely seen yet important objects such as medieval manuscript illuminations and Renaissance prints; nineteenth-century drawings and prints by such artists as Mary Cassatt, Winslow Homer, and James McNeill Whistler; twentieth-century works by Peggy Bacon, George Bellows, Charles Demuth, Marjorie Organ Henri, John Marin, Georgia O'Keeffe, Diego Rivera, and Charles White; and contemporary works by Robert Colescott, Vija Celmins, Roy Lichtenstein, Judy Pfaff, and Kara Walker.

George Baxter (1804-1867) was a pioneer in advancing the art of colour printing. A perfectionist, Baxter not only engraved but also examined the prints as they were produced, often providing touch-ups by hand. Baxter's process was, in the end, uneconomical, and he died bankrupt, but no one did more to bring vivid artworks within financial reach of every household, or leave a more colourful legacy for generations of admiring collectors of Victoriana. His oil-coloured prints have given viewers pleasure since they began appearing in the 1830s. Thanks to Donald and Barbara Cameron's generous donation of their Baxter collection in 2010, the Bruce Peel Special Collections & Archives was able to mount a remarkable exhibition.

This important volume offers the first comprehensive look at the Arthur Ross Collection-more than 1,200 17th- to 20th-century Italian, French, and Spanish prints-and is published to mark the inaugural exhibition of the collection in its new home at the Yale University Art Gallery. Highlights include superb etchings by Canaletto and Tiepolo; the four volumes of Piranesi's Antiquities of Rome, as well as his famous Vedute (Views) and Carceri (Prisons); Goya's Tauromaquia in its first edition of 1816; an extremely rare etching by Edgar Degas; and numerous other 19th-century French prints, by Eugene Delacroix, Honore Daumier, Edouard Manet, Paul Gauguin, Paul Cezanne, and others. The accompanying essays discuss the life of Arthur Ross, a significant philanthropist who funded several arts institutions; the formation of the collection and the art-historical significance of the works; and several thematic approaches to studying the collection, reinforcing its legacy as an important teaching resource. Distributed for the Yale University Art Gallery Exhibition Schedule: Yale University Art Gallery (12/18/15-04/24/16) Samuel P. Harn Museum of Art, University of Florida (01/29/17-05/08/17) Syracuse University Art Galleries, Syracuse University (08/17/17-11/19/17)

This group of 40 prints from the exceptional Daniel Cowin Collection captures the tumultuous aesthetic and political climate of the years surrounding World Wars I and II. An essay by Jonathan Black addresses the impact of World War I on two notable British printmakers, Edward Wadsworth and C. R. W. Nevinson. A text by Jay A. Clarke delves into the linocut movement of the 1920s and '30s, investigating how the role of style and politics impacted this movement as well as the previously unexplored position of women printmakers and the interplay between gender, craft, and decoration. Influences of Futurism, Cubism, and the short-lived but vibrant abstraction of the Vorticist movement saturate the powerful color images, which are accompanied by artist biographies. This publication illuminates the struggle of these radical printmakers as they navigated a conservative market and the harsh economic and political realities of their time. Distributed for the Clark Art Institute Exhibition Schedule: Clark Art Institute (02/28/15-05/17/15)

Following on from his previous books Printmaking at the Edge and Critical Mass, Richard Noyce ventures once more beyond familiar centres of art production to explore printmaking off the beaten track. His journey covers the art of a breathtakingly diverse set of regions, from the Middle East, India, Pakistan and Nepal, to the Eastern Mediterranean, south-eastern Europe and the Balkans and more besides. Some of the countries featured have long traditions of using print techniques in their historic and contemporary art but are rarely, if ever, included in international competitions or art journals. This rich and compelling resource reveals the innovative and exciting approaches of printmakers around the world and gives readers the opportunity to compare art from different places, challenging our understanding of the means and forms of expression in printmaking, and its place in the contemporary visual arts. This book will satisfy curiosity amongst artists, printmakers, students and art lovers about printmaking being done in countries unfamiliar to them.

Prints changed the history of art, even as that history was first being written. In this study, Sharon Gregory argues that this reality was not lost on Vasari; she shows that, contrary to common opinion, prints thoroughly pervade Vasari's history of art, just as they pervade his own career as an artist. This volume examines Giorgio Vasari's interest, as an art historian and as an artist, in engravings and woodblock prints, shedding new light not only on aspects of Vasari's career, but also on aspects of sixteenth-century artistic culture and artistic practice. It is the first book to study his interest in prints from this dual perspective. Investigating how prints were themselves more often interpretive than strictly reproductive, Gregory challenges the long-held view that Vasari's reliance on prints led to errors in his interpretation of major monuments. She demonstrates how, like Raphael and later artists, Vasari used engravings after his designs as a form of advertisement through which he hoped to increase his fame and attract influential patrons. She also explores how contributing illustrations for books by his scholarly friends, Vasari participated in the contemporary exchange of intellectual ideas and concerns shared by Renaissance humanists and artists.

Gods in the Bazaar is a fascinating account of the printed images known in India as "calendar art" or "bazaar art," the color-saturated, mass-produced pictures often used on calendars and in advertisements, featuring deities and other religious themes as well as nationalist leaders, alluring women, movie stars, chubby babies, and landscapes. Calendar art appears in all manner of contexts in India: in chic elite living rooms, middle-class kitchens, urban slums, village huts; hung on walls, stuck on scooters and computers, propped up on machines, affixed to dashboards, tucked into wallets and lockets. In this beautifully illustrated book, Kajri Jain examines the power that calendar art wields in Indian mass culture, arguing that its meanings derive as much from the production and circulation of the images as from their visual features. Jain draws on interviews with artists, printers, publishers, and consumers as well as analyses of the prints themselves to trace the economies-of art, commerce, religion, and desire-within which calendar images and ideas about them are formulated. For Jain, an analysis of the bazaar, or vernacular commercial arena, is crucial to understanding not only the calendar art that circulates within the bazaar but also India's postcolonial modernity and the ways that its mass culture has developed in close connection with a religiously inflected nationalism. The bazaar is characterized by the coexistence of seemingly incompatible elements: bourgeois-liberal and neoliberal modernism on the one hand, and vernacular discourses and practices on the other. Jain argues that from the colonial era to the present, capitalist expansion has depended on the maintenance of these multiple coexisting realms: the sacred, the commercial, and the artistic; the official and the vernacular.

This accessible and useful book will be an invaluable guide for all those interested in printmaking - from obtaining an understanding of different prints to buying for investment. The author covers areas such as collecting, explaining what constitutes an original print, how to spot copies, different types of print (from traditional to digital techniques), information on buying and selling prints, copyright, framing and conservation.

History and art come together in this definitive discussion of the Chinese woodblock print form of nianhua, literally "New Year pictures." James Flath analyzes the role of nianhua in the home and later in the theatre and relates these artworks to the social, cultural, and political milieu of North China as it was between the late Qing dynasty and the early 1950s. Among the first studies in any field to treat folk art as historical text, this extraordinary account offers original insight into popular conceptions of domesticity, morality, gender, society, modernity, and the transformation of the genre as a propaganda tool under communism.