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.

Nordic Bakery is a Scandinavian-style premium coffee shop loved for its Nordic cinnamon buns, coffee, and rye bread. The book tells the tale of how products are sourced and ideas conceived; it describes the design aesthetic, portraying the concept of mixing dining, design, and the way of the Norse people, bringing Scandinavian design and lifestyle from table to book.The -face- behind the business is Miisa Mink, who comes from a successful career in branding and design and is also a passionate baker. Milla Koivisto is a photographer, writer, filmmaker, and artist with a focus on environmental issues.

Gold Medal Winner, California Book Awards Winner, NCIBA Book of the Year Award Winner, Northern California Book Reviewers Recognition Award A show-stopping collaboration between artist Tom Killion & poet Gary Snyder with writings by Robinson Jeffers, Robert Hass, Jaime de Angulo, and more. Previously published as California’s Wild Edge: The Coast in Prints, Poetry, and History, this volume captures the beauty of the California coast from Mendocino, Point Reyes, and the San Francisco Bay down through Carmel, Big Sur, Santa Barbara, and Santa Monica. Woodcut artist Tom Killion’s prints (over 90 in this collection) combine exquisite color with dynamic composition to portray the coast’s ever-changing moods and diverse formations: storm tides crashing at Point Lobos, serene moonlit coves at Mendocino, fog encircling the Golden Gate Bridge. Deepening our experience are poetry and prose from Gary Snyder, as well as selections from Native Californian traditional stories, accounts of travelers, and poems by Robinson Jeffers, Robert Hass, and Jaime de Angulo. As Tamalpais Walking and The High Sierra of California did for lovers of mountains, California’s Wild Coast will delight anyone who has seen (or wants to see) the meeting of land and the Pacific.

Everett Ruess was twenty years old when he vanished into the canyonlands of southern Utah, spawning the myth of a romantic desert wanderer that survives to this day. It was 1934, and Ruess was in the fifth year of a quest to record wilderness beauty in works of art whose value was recognized by such contemporary artists as Dorothea Lange, Ansel Adams, and Edward Weston. From his home in Los Angeles, Ruess walked, hitchhiked, and rode burros up the California coast, along the crest of the Sierra Nevada, and into the deserts of the Southwest. In the first probing biography of Everett Ruess, acclaimed environmental historian Philip L. Fradkin goes beyond the myth to reveal the realities of Ruess's short life and mysterious death and finds in the artist's astonishing afterlife a lonely hero who persevered.

Monoprinting is a printmaking process in which a drawing or painting, executed on a flat, unworked printing plate or other surface, is transferred through pressure, to a sheet of paper. Recognised as a spontaneous and exciting process, the medium is also effective, convenient and does not necessarily require a press. Only one strong impression can be taken, hence the term monoprint. In this handbook, the authors show how to push the boundaries of monoprinting with various techniques, showing the unique possibilities and showcasing work from around the world.

Paul Klee (1879-1940) was an extraordinary draftsman, printmaker, teacher and theoretician with a singular style whose work greatly impacted the development of twentieth-century art. Klee's prints demonstrate, more fully than his works in any other medium, his remarkable evolution from a traditionalist to one of the most daring innovators of modern art. This limited-edition facsimile of "The Prints of Paul Klee," originally published by The Museum of Modern Art, New York in 1947, presents 40 of Klee's etchings and lithographs from MoMA's collection, ranging in date from 1903 to 1931 and each printed on a separate sheet of stiff card, eight of which are in color. Accompanied by a 40-page booklet featuring an essay by James Thrall Soby (then Chairman of the museum's Department of Painting and Sculpture), and a new text by Christophe Cherix, MoMA's Chief Curator of Prints and Illustrated Books, the prints are encased in a cloth-covered and ribbon-bound box. This unique and luxurious portfolio is being reissued for the first time since its original publication, and is available in a limited edition of 2,000 numbered copies.

The Prints of Wilhelmina Barns-Graham: A Complete Catalogue is the first book to provide a complete account of the printmaking career of British artist Wilhelmina Barns-Graham (1912-2004), with particular reference to the technical innovations that she pioneered while working in association with master printers. Barns-Graham experimented with a variety of printmaking techniques, finally discovering her ideal means of expression in screenprinting. Through partnerships with innovative printmakers, she experimented with new techniques and materials that allowed her to create prints which, in their intensity of colour and precision of design, have the quality almost of paintings. Based on new research, and drawing on information contained in her numerous diaries, The Prints of Wilhelmina Barns-Graham incorporates a complete illustrated catalogue of all of the artist's known work in etching, linocut, lithography, screenprinting and monotype, from 1946 to 2007. It considers her work in relation to that of other British artists, especially those connected with the St Ives school, and examines her prints in relation to her works in other media, in particular her paintings. This book will prove an invaluable resource for museum curators, students of British art and twentieth-century abstraction, and all those seeking to learn more about this aspect of the career of one of Britain's most important artists of the late 20th-century.

Chickadees amid cherry blossoms, peacocks nestled in wisteria branches, sleeping owls against a moonlit night sky and majestic cranes diving in the ocean waves-these are some of the transcendent pleasures offered in this exquisite collection of plates bound in an accordion style format that honors the Japanese bookbinding tradition. Every major artist of this genre is included-from Keisai, Keibun and Hokusai to Hiroshige and Koson-as the history of Japanese printmaking unfolds in stunning detail. An introductory booklet explores the centuries long role that nature has played in Japanese art, from Chinese influenced works of the Kano school, which depicted the bird as a Buddhist symbol, through to the ukiyo-e, when artists strove to capture fleeting moments of pure joy. Fans of Japanese art, lovers of birds, and anyone who enjoys beautiful depictions of the natural world will cherish this sumptuous, satisfying volume of earthly delights.

'The underlying message of the series is, of course, that Death comes for us all, and if it interrupts the recreations of the wealthy rather more insolently than those of the poor, then let that be a lesson to us' Nick Lezard, Guardian A new departure in Penguin Classics: a book containing one of the greatest of all Renaissance woodcut sequences - Holbein's bravura danse macabre One of Holbein's first great triumphs, The Dance of Death is an incomparable sequence of tiny woodcuts showing the folly of human greed and pride, with each image packed with drama, wit and horror as a skeleton mocks and terrifies everyone from the emperor to a ploughman. Taking full advantage of the new literary culture of the early 16th century, The Dance of Death took an old medieval theme and made it new. This edition of The Dance of Death reproduces a complete set from the British Museum, with many details highlighted and examples of other works in this grisly field. Ulinka Rublack introduces the woodcuts with a remarkable essay on the late medieval danse macabre and the world Holbein lived in.

This pack contains 500 high-quality origami sheets printed with 12 different vibrant colour combinations. The paper was selected to enhance the creative work of modular origami artists and paper crafters. This pack contains colours unique to this package, with coordinating colours on the reverse side to provide aesthetically pleasing combinations. There's enough paper here to assemble amazing modular origami sculptures, distribute to students for a class project, or put to a multitude of other creative uses. This origami paper pack includes: 500 sheets of high-quality origami paper 12 bright, saturated colours Small 4x4 inch squares.

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

Geoffrey Garnier was the only Newlyn artist to devote himself entirely to the art of print-making. After a spell in Canada he studied at the Bushey School of Art and in 1913 at the Forbes School of Art at Newlyn in Cornwall. Friends there included Lamorna Birch, Laura and Harold Knight, Charles and Ruth Simpson, Harold Harvey, his wife Gertrude and her sister Sophie Bodinnar, Frank Dobson the sculptor, Dod and Ernest Procter and A J Munnings and wife Florence. Geoffrey and Jill, coinciding at the Forbes School, married in 1917 while he was serving in the Navy, and after the war settled in Newlyn, where they remained for the rest of their lives. They bought Orchard Cottage, high above the harbour with glorious views across the bay to St Michael's Mount, building studios in the sloping garden. Geoffrey's prints gained international recognition. He worked in dry-point, line engraving, etching, mezzotint and particularly aquatint, developing new processes and rediscovering old methods. Favourite subjects were the sailing ships of the great era of British sea power, Cornish landscapes and sporting scenes, charming studies of children at play and colourful oriental prints. Jill continued to paint despite the demands of domesticity, and produced portraits of her children and friends, landscapes and still lifes, making a record of her times. Geoffrey's versatility extended to calligraphy, bookbinding and fiction writing. Despite his nostalgia for old Cornish life, he had a love of fast cars, owning such exotic makes as Benz, Delage and Austro-Daimler.

C.R.W. Nevinson (1889-1946) is regarded as one of the finest British printmakers of the first half of the twentieth century - admired by contemporaries and modern-day viewers in equal measure. Yet despite this assured reputation, nothing substantial has been published on his remarkable printmaking career until now. Nevinson began creating prints in 1916, only stopping, due to ill health, in 1932. During this period he produced 148 prints, all of which reflecting his distinct vision and outstanding skills as a printmaker. Providing historical and social insights, his body of work is impressive in its range - images depicting the horrors of the First World War sit alongside contrasting cityscapes which present Nevinson's singular interpretation of Paris, New York and London. Drawing on original archival research and including a catalogue raisonne of Nevinson's prints, this unrivalled resource stands as a landmark publication in the literature available on this outstanding British modernist. It is an essential reference volume for all those who collect, sell or study Nevinson's prints and also provides much needed context for those with a general interest in the artist and the period in which he worked.

Prior to World War I, printmaking in the United States was, with a few exceptions, primarily the domain of commercial enterprises that produced largely picturesque European scenes or depictions of popular towns on the East Coast. Prints of Minnesota scenes, especially by Minnesota artists, formed a very small part of American art exhibits.
Robert Crump relates the fascinating story of Minnesota's graphic arts world and its growth from provincialism to part of a national movement, showing how art printing--etchings, woodcuts, lithographs, drypoints, monotypes, and silk screens--blossomed after the turn of the last century. He chronicles the support of the federal government during the 1930s and the important role played by local organizations such as the Minneapolis Institute of Art, the Walker Art Center, and the Minneapolis School of Art (now the Minneapolis College of Art and Design).
"Minnesota Prints and Printmakers "offers short biographies of and sample prints by nearly two hundred printmakers, including Wanda Gag, Adolf Dehn, George Resler, Miriam Ibling, Syd Fossum, Gilbert Fletcher, and Gustav Goetsch. Crump's eye for memorable images makes the handsome volume a pleasure to behold for collectors and readers interested in Minnesota art. Notes on printing techniques and several appendixes help newcomers appreciate the challenges of printmaking.
Robert L. Crump is a print collector and former superintendent of the Minnesota State Fair Fine Arts Exhibition. He has been a designer and an art director for companies in Minneapols and the Midwest.

The Camelopard, The Monstrous Pig, The Famous Porcupine, Durer's Rhinoceros: these are but a few of the beautiful and bizarre creatures that feature in this delightful book. In the visual arts of the fifteenth to the early nineteenth centuries in Europe, animals were understood in relation to the human world, whether as animals of the farm, estate or household, beasts of burden or as diversions in menageries and travelling shows. At the same time, rapidly increasing investigation of the natural world engaged artists in the problems of accurate representation: prints were particularly important in distributing natural historical information (or misinformation) across a wide, international audience. This beautifully illustrated book explores perceptions of the natural world as seen through the eyes of imaginative artists: works by Goya, Stubbs and Bewick stand alongside prints by lesser-known artists, each selected for its graphic strength, charm and narrative interest. Featured are natural history studies, masterpieces from the British Museum's exceptional collection of classical old master prints, book illustrations, satires and popular prints to beautifully capture the diversity and appeal of early modern print culture. Visually stunning, entertaining and intriguing, this book explores humankind's enduring curiosity about the animal world.

Azaria Mbatha's autobiography embodies episodic memories of his life across a unique spectrum of African experience.

Starting from his decision to visit South Africa after years of exile in Sweden, this trilogy introduces us to his parents and his beloved sister who looms so large in his emotional world. We share their lives against a rich backdrop of Zulu society in which the oral tradition is portrayed in depth and detail.

The shadow of apartheid South Africa, softened only by Mbatha's generosity of spirit and wry humor, falls across many episodes of poignant originality throughout his story.

This book is freely illustrated with artwork of Mbatha's own making, choice and allocation. He is a prominent figure in contemporary South African art and both his work and this book reflect issues of personal involvement in historical, religious and existential themes.

Ultimately Mbatha's development from young Zulu kholwa to ecumenical man can be clearly traced to his art. He adopts a firm stance as a commentator within a crumbling society racked by personal and collective conflict. His cogent topical themes are depicted, reviewed and expanded in a continuity of experience woven into the literary fabric of his memories.

Thomas Bewick wrote A History of British Birds at the end of the eighteenth century, just as Britain fell in love with nature. This was one of the wildlife books that marked the moment, the first 'field-guide' for ordinary people, illustrated by woodcuts of astonishing accuracy and beauty. But it was far more than that, for in the vivid vignettes scattered through the book Bewick drew the life of the country people of the North East - a world already vanishing under the threat of enclosures. In Nature's Engraver: The life of Thomas Bewick, Jenny Uglow tells the story of the farmer's son from Tyneside who revolutionised wood-engraving and influenced book illustration for a century to come. It is a story of violent change, radical politics, lost ways of life and the beauty of the wild - a journey to the beginning of our lasting obsession with the natural world. Nature's Engraver won the National Arts Writers Award in 2007. Jenny Uglow is the author of, among others, A Gambling Man: Charles II and the Restoration, which was shortlisted for the 2010 Samuel Johnson Prize, Lunar Men and In These Times. 'The most perfect historian imaginable' Peter Ackroyd

From jewellery designers to scientists, graphic artists to naturalists, the range of people inspired by Ernst Haeckel's illustrations continues to grow. Following up on Prestel's Art Forms in Nature and Art Forms from the Ocean, this new collection features startlingly beautiful images created by Haeckel, who was commissioned to contribute to the report of the HMS Challenger expedition, which circumnavigated the world from 1872-76. The Challenger's achievements were unparalleled, with nearly 5,000 new species discovered and catalogued from the depths of Earth's oceans. Full-page reproductions bring these organisms colourfully to life, drawing readers into a world at once hypnotic and highly ordered. Divided into three sections-Siphonophores, Medusae and Radiolarians-these illustrations display Haeckel's remarkable artistic skill and understanding of the architecture of organic matter. The authors provide a brief history of the Challenger expedition, background on Haeckel's scientific and artistic accomplishments, as well as informative texts on each group of organisms.A guide to the natural world and an inspiration to artists of every stripe, this collection of Haeckel's work is a fitting tribute to a 19th century genius.

Bauhaus artist Friedl Dicker-Brandeis The work of Friedl Dicker-Brandeis (1898-1944) occupies a key position in the broader history of the Austrian avant-garde while also deepening our understanding of modernism. Her work covers an impressive range of media and genres in the visual and applied arts. Influenced by her studies at Vienna's Kunstgewerbeschule (which later became the University of Applied Arts Vienna), the Itten Private School, and the Bauhaus in Weimar, she worked as a painter, stage designer, architect, designer in Vienna and Berlin, in exile, and as a deportee. This book explores the heterogeneity of Dicker's work, reconstructs her artistic strategies and references to aesthetic and political discourses from the 1920s to the 1940s, and documents for the first time her works in the collection of the University of Applied Arts Vienna. Portrait of her work and collection catalog, dedicated to the artist, designer, and architect Friedl Dicker-Brandeis Essays by Julie M. Johnson, Robin Rehm, Daniela Stoeppel, and others To accompany an exhibition in Vienna and Zurich