This comprehensive survey of the career of Edward Bawden (1903-89) accompanied a major exhibition at Dulwich Picture Gallery and brings together his most significant work in watercolour, printmaking, design and illustration. Bawden began his career in the 1920s as a precociously talented designer and illustrator, and he successfully reinvented himself time and again as the decades passed while always retaining a distinctive freshness, humour and humanity in his work. The book explores in depth the most significant creative periods of Bawden's life and is fully illustrated throughout.

Edvard Munch (1863-1944) is best known today as a painter, but his reputation was in fact established through his prints, which were central to his creative process. His printmaking was experimental and innovative, and he continually revisited the subjects of his paintings in striking prints, in which he evoked a wide range of emotion and mood through the use of varied techniques. Munch's early life in the industrial town of Kristiania (renamed Oslo in 1925) was marked by sickness and poverty. His first works centred on the expression of deep emotional experiences, specifically the deaths of his mother and teenage sister when he was growing up, as well as passionate yet unhappy love affairs of which his deeply religious father disapproved. Encouraged by his encounters with a Bohemian society of artists, writers and poets, he developed a visual landscape that was a radical deviation from the slick society portraits and grand Scandinavian landscapes then so much in vogue. His efforts attracted considerable attention and much criticism, and he practised with little financial success as a painter for ten years before he started to gain his reputation as a profoundly innovative printmaker. Written by a team of acknowledged experts, and with an interview by writer Karl Ove Knausgaard, this book will shed new light on the production of some of Munch's most remarkable works.

The geometric shapes and natural forms, captured with exceptional precision in Ernst Haeckel's prints, still influence artists and designers to this day. This attractive volume highlights the research and findings of this outstanding natural scientist. Powerful modern microscopes have confirmed the accuracy of HaecKel's prints winch, even in their day, rightly became world famous.

Haeckel's outstanding portfolio, first published between 1899 and 1904 in separate installments, is described in the opening essays. The plates illustrate Haeckel's fundamental monistic notion of the "unity of all living things", and the wide variety of forms are executed with utmost delicacy. Incipient microscopic organisms are juxtaposed with highly developed plants and animals. The pages, ordered according to geometric and "constructive" aspects, handsomely document the oneness of the world in its most diversified forms.

This collection of plates was not only well-received by scientists, but by artists and architects as well. Rene Binet, a pioneer of glass and iron constructions, Emile Galle, a renowned Art Nouveau designer, and the photographer Karl Blossfeld all acknowledge and make explicit reference to Haeckel in their work.

A look at the artistic and technical innovation of British printmaking from World War I to the eve of World War II, as artists from the Grosvenor School and beyond harnessed an emerging modernist style Throughout the tumultuous decades of the early twentieth century, the graphic arts flourished in Great Britain as artists sought to portray everyday life during the machine age. This richly illustrated volume reintroduces rare print works from the collection of Leslie and Johanna Garfield into the narrative of modernism, demonstrating their relationship to other movements such as Cubism, Futurism, and Constructivism. Essays explore how artists turned to printmaking to alleviate trauma, memorialize their wartime experiences, and capture the aspirations and fears of the twenties and thirties. Special attention is given to the linocut technique revolutionized by Claude Flight and his students at London's Grosvenor School of Modern Art. Highlighted as well are the pioneering works of artists such as C. R. W. Nevinson, Sybil Andrews, Cyril E. Power, Paul Nash, Edward Wadsworth, Edith Lawrence, Ursula Fookes, and Lill Tschudi. In their quest to promote a more democratic art, these artists created innovative graphics that portrayed in subject, form, material, and technique the dynamic era in which they lived. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (October 21, 2021-January 17, 2022)

This publication has been developed from ideas first presented at the international symposium Late Hokusai: thought, technique, society, held at the British Museum in May 2017. The symposium was organised to enable specialists in a range of disciplines relating to early modern Japan to view and consider the critically acclaimed exhibition Hokusai: beyond the Great Wave, then being presented at the British Museum. The exhibition brought together representative works by the artist Katsushika Hokusai (1760−1849) in the various media in which he worked – colour woodblock printed, woodblock-printed illustrated books, brush paintings on paper or silk, and brush drawings − that were produced between the age of 61 and his death aged 90. Building on the themes of the exhibition, authors from the UK, Europe, Japan and USA have engaged with late Hokusai from a variety of perspectives, both intrinsic and extrinsic to his life and works. Essays have been grouped within the broad categories of ‘thought’ -- Hokusai’s intellectual concerns and the ways his art brought these to life; ‘technique’ – how the artist pursued excellence in a wide range of media, within a commercialised art market; and ‘society’ – dimensions of cultural interaction and patronage. A fourth section on ‘legacy’ looks at how stories of Hokusai have been as much generated by 130 years of scholarship, as they have by his works themselves. Challengingly, faked paintings and printed works have both contaminated and supported those stories. This innovative approach provides new insights into the work of one of the world’s most celebrated artists and suggests many new avenues for Hokusai research.

The Julie and Robert Breckman Print Fund has enabled purchases by such art world stars as Damien Hirst, Julian Opie, Chris Ofili, Grayson Perry and Rachel Whiteread to name but a few. The collection is also home of a wide range of other print acquisitions that encompass everything from topographical prints, fashion plates, wallpapers and caricatures to posters, packaging and playing cards, as well as prints by street artists, and often challenging contemporary prints and multiples. This book includes an illustrated introduction that gives the background of the collection and describes the rationale behind the collecting - as well as highlighting the important contributions that the Breckman Fund acquisitions have made to the V&A's programme of exhibitions, displays and galleries.

In 14 original essays, The Oxford Illustrated History of the Book reveals the history of books in all their various forms, from the ancient world to the digital present. Leading international scholars offer an original and richly illustrated narrative that is global in scope. The history of the book is the history of millions of written, printed, and illustrated texts, their manufacture, distribution, and reception. Here are different types of production, from clay tablets to scrolls, from inscribed codices to printed books, pamphlets, magazines, and newspapers, from written parchment to digital texts. The history of the book is a history of different methods of circulation and dissemination, all dependent on innovations in transport, from coastal and transoceanic shipping to roads, trains, planes and the internet. It is a history of different modes of reading and reception, from learned debate and individual study to public instruction and entertainment. It is a history of manufacture, craftsmanship, dissemination, reading and debate. Yet the history of books is not simply a question of material form, nor indeed of the history of reading and reception. The larger question is of the effect of textual production, distribution and reception - of how books themselves made history. To this end, each chapter of this volume, succinctly bounded by period and geography, offers incisive and stimulating insights into the relationship between books and the story of their times.

Inspired satire on religion and morality, including 70 aphorisms of "Proverbs of Hell." 27 full-color plates, full text.

The Mexican revolution of 1910-1920 gave rise to an artistic explosion that was felt most profoundly in printmaking. The left-wing government viewed art as an important vehicle for education and the promotion of revolutionary values. It established a program to cover the walls of public buildings with murals and set up numerous workshops to produce prints for wide distribution. By the 1930s, Mexico was attracting socially committed artists from all over the American continent and beyond, ready to do battle for a new aesthetic as well as a new political order. Diego Rivera, a key figure in the art of revolution, became one of the most celebrated artists in the world.

Starting with works by Jose Guadalupe Posada, who was adopted by the revolutionaries as the archetypal printmaker for the people, Revolution on Paper features prints by thirty-five artists, including the "Three Greats" of Mexican art of the period--Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros. The selection includes not only single-sheet artists' prints, but also posters addressing social and political issues, and illustrated books on many different subjects. Images of the revolutionary hero Emiliano Zapata, scenes of poverty, hunger, and oppression, and posters protesting against fascism and the war in Europe contrast with representations of Mexican history and idealized rural life that express what was regarded as typically "Mexican." Introductory essays by Dawn Ades and Alison McClean set Mexican printmaking in its artistic and political context. Concise biographies of the artists, a chronology, and a glossary of printmaking terms complete the book.

As beautiful and rigorous as an Escher work itself, this book is the classic study of a great maverick who so memorably linked the world of imagemaking with geometry and paradox. Escher's works, from the great master prints to numerous drawings, are brilliantly arranged to form a cinematic journey of discovery that reveals the magical world of the artist's mind, an uncharted realm lush with exotic conceptions and inventions.

William Blake's series of engraved illustrations for Dante's Divine Comedy were his last major project and a summation of his religious and artistic beliefs. Unfinished at his death, the series includes seven engravings and 102 unique works in various stages of completion - some of the most beautiful pictures of his career. These pictures are not simple illustrations. In fact the artist used them to reinterpret and correct Dante's poem. This book compares the two men's theological and artistic views and analyzes in detail the meaning of these works, for the first time introducing their theological and aesthetic exuberance to a modern audience.

83 moving works: The Weavers, Peasant War, War, Death, and others. "To see the beautiful examples of her work reproduced in this well-printed, reasonably priced volume is to sit at the feet of a great modern master..."-School Arts.

Clear wood engravings present, in extremely lifelike poses, over 1,000 species of animals.

In 1975 Abram Games, one of Britain's greatest graphic designers, was commissioned to make a fund-raising poster for the Royal Shakespeare Company. His brilliant solution was to become iconic: the face of Shakespeare built up from the titles of all the plays as they appear in the First Folio. The poster has been seen all over the world; but Abram Games intended much more. After his death, his daughter Naomi discovered a mock up he had made of a flick book. As the reader flicked the pages, Games planned to make Shakespeare's face gradually emerge. Now at last Games' original project is coming to life. All 37 plays are included, in the order they are printed in the First Folio of 1623, ending with Pericles, Prince of Tyre, added to the collection in the Third Folio of 1664. At the end, the playwright makes a graceful exit, marked by the poems and the lost or doubtful plays. The book is completed with some favourite quotations, and the date of each work. Naomi Games has written a brief introduction about the history of Games' image. Pallas Athene is excited to be producing this little monument in the history of design.

This book examines the entwined and simultaneous rise of graphic satire and cultures of paper money in late eighteenth- and early nineteenth-century Britain. Asking how Britons learned to value both graphic art and money, the book makes surprising connections between these two types of engraved images that grew in popularity and influence during this time. Graphic satire grew in visual risk-taking along, while paper money became a more standard carrier of financial value, courting controversy as a medium, moral problem, and factor in inflation. Through analysis of satirical prints, as well as case studies of monetary satires beyond London, this book demonstrates several key ways that cultures attach value to printed paper, accepting it as social reality and institutional fact. Thus, satirical banknotes were objects that broke down the distinction between paper money and graphic satire altogether.

Encompassing black-and-white linoleum cuts made at community art centers in the 1960s and 1970s, resistance posters and other political art of the 1980s and the wide variety of subjects and techniques explored by artists in printshops over the last two decades, printmaking has been a driving force in contemporary South African artistic and political expression. "Impressions from South Africa, 1965 to Now," published to accompany an exhibition at The Museum of Modern Art, introduces the vital role of printmaking through works by more than 20 artists in the Museum's collection. The volume features prints by John Muafangejo and Dan Rakgoathe, whose vigorous, metaphoric linoleum cuts conveying social messages were cultivated at Rorke's Drift Art and Craft Centre in the 1960s and 1970s, posters produced for anti-apartheid coalitions in the 1980s, and political work by Sue Williamson, Norman Catherine and William Kentridge, representing periods of apartheid resistance. More recent projects, including traditional etchings by Diane Victor, comic books by Bitterkomix, lithographs by Joachim Schonfeldt and Claudette Schreuders and digital prints by Cameron Platter, address ongoing social issues and explore new subjects. New linoleum cut projects by a younger generation of artists--Paul Edmunds, Senzeni Marasela and Vuyile Voyiya--demonstrate the relevance of the medium in South Africa today. Judith B. Hesker, Assistant Curator of Prints and Illustrated Books at MoMA, contributes an introduction, biographies of the artists, publishers and printers, and a timeline of relevant events in South Africa.

Printmakers today are sustained both by their traditions and by their willingness to embrace new technologies, new mediums, and innovative processes. Over 500 beautiful color images display the innovative work of 75 talented printmakers and 30 print shops. Traditional printing techniques featured include lithography, intaglio, screen print, and relief, while newer techniques include installation, digital, and fiber, among other forms of new print media. The artists speak for themselves, revealing why they create their art. Consequently, the readers will gain a deeper understanding of their world. These assembled prints reflect the talent of this time and in this place. The artists' mediums, patterns, images, and environments also capture our culture and attempt to foretell our future. This book will be a treasured resource for anyone who appreciates the printmaker's art.

Hogarth's pictures are among the most iconic of the eighteenth century - his cacophonous crowds, bustling streets, polite or not-sopolite companies, and all too revealing tales of human folly, vividly bring the world around him to life. Their fame and popularity rests, above all, on their widespread circulation as prints, not only in England but around the globe, from the artist's lifetime to today. Having first trained as an engraver, this remained an important aspect of his art and success. It is in print that he is often at his most creative and original, capturing, in his own words, 'the perpetual fluctuations in the manners of the times'. Taking its cue from the portfolio collections Hogarth himself curated, this book gathers together a selection of his best loved and most inventive prints.

What is a print? This volume aims to answer that question by exploring the four basic printmaking techniques--woodcut, intaglio, lithography and screenprint--that have been used to create some of the most iconic images in modern art, from Paul Gauguin's "Noa Noa" to Andy Warhol's "Marilyn Monroe." Illustrated with works from The Museum of Modern Art's superlative collection of prints, the book is divided into four sections that provide an overview introduction to each technique. Each section presents approximately 40 prints that demonstrate the range and variety of a particular technique and illustrate its development over the last century. Extended captions highlight the distinctive visual effects unique to each technique, and examine issues specific to printmaking, such as democratic ideas about distribution and social and political function. Featured works range from Edvard Munch's radical woodcut experiments from the 1890s to Kelley Walker's digital experiments of the last several years, and include prints by modern masters like Pablo Picasso and Joan Miro as well as those made by a roster of international contemporary artists who continue to explore and expand these techniques today.

Masterfully executed designs in reproductions of two rare catalogs: ornamental borders, corners and frames with intricate floral and foliated patterns, architectural ornaments and design elements, religious symbols and figures, animals, mosaics, landscapes, much more. Invaluable to artists and craftspeople working with textiles, wallpaper and other decorative items.

Crow's Shadow Institute of the Arts at 25 explores the first twenty-five years of a remarkable nonprofit printmaking and traditional arts studio based on the Confederated Tribes of the Umatilla Indian Reservation in eastern Oregon, the only such center located on a reservation community in the United States. Art historian Prudence Roberts, drawing from conversations with CSIA founder, the artist James Lavadour, narrates the institute's history from its beginnings through the establishment of a professional quality printmaking program and an international reputation. Native American art scholar heather ahtone and curator Rebecca Dobkins trace the development of indigenous printmaking in North America, further contextualizing this story. Over sixty color plates will illustrate selected work from the dozens of artists, indigenous and non-indigenous, who have completed residencies at CSIA since its founding, including luminaries of contemporary Native American art Rick Bartow, Joe Feddersen, Jeffrey Gibson, Edgar Heap of Birds, James Lavadour, Lillian Pitt, Wendy Red Star, and Marie Watt.

The significance of the media and communications revolution occasioned by printmaking was profound. Less a part of the standard narrative of printmaking's significance is recognition of the frequency with which the widespread dissemination of printed works also occurred beyond the borders of Europe and consideration of the impact of this broader movement of printed objects. Within a decade of the invention of the Gutenberg press, European prints began to move globally. Over the course of the fifteenth to the eighteenth centuries, numerous prints produced in Europe traveled to areas as varied as Turkey, India, Iran, Ethiopia, China, Japan and the Americas, where they were taken by missionaries, artists, travelers, merchants and diplomats. This collection of essays explores the global circulation of knowledge, both written and visual, that occurred by means of prints in the Early Modern period.