Leonardo da Vinci was one of the most outstanding intellectuals of the Renaissance. An entirely self taught intellectual giant, he was endlessly curious about the physical world. His notebooks reveal the breadth of his research into subjects as diverse as anatomy, botany, physics, and engineering, including his extraordinary anticipation of modern technology. The author traces his life from birth through to his apprenticeship in Florence and work in Milan, Rome and Amboise. His skill as an artist is captured in reproductions of pages from his beautifully illustrated notebooks, and masterpieces such as the Mona Lisa.

Originally published in 1998, The Handbook of Modern British Painting and Printmaking 1900-1990 has been designed for people who enjoy, study and buy British art. The only portable dictionary-style guide to the life and work of modern British painters and printmakers, the book provides information on some 2,000 artists, as well as entries on schools of art, on museums, galleries and collections, on societies and groups, and critics and patrons who have influenced the development of modern art in Britain. Compiled by scholars, the entries are cross-referenced and each concise biographical outline provides the relevant facts about the artist's life, a brief characterisation of the artist's work, and major bibliographic references. Wherever possible, one or two suggestions for further reading are cited.

Sold in packs of 6. Gorgeous, foiled, handmade greeting cards, blank inside and shrink-wrapped with a gold envelope. Themed with our art calendars, foiled notebooks and illustrated art books. Our greeting cards are printed on FSC paper and wrapped in biodegradable cellobag, and are themed with our art calendars, foiled notebooks and illustrated art books. Born in Kent, Annie Soudain lives by the sea in Sussex and much of her work continues to be inspired by the beautiful landscapes surrounding her. This colourful linoprint was created using the reduction method, which involves progressively cutting, inking up, and printing from the same block.

In seeing printed reproductions as a form of response to Michelangelo's work, Bernadine Barnes focuses on the choices that printmakers and publishers made as they selected which works would be reproduced and how they would be presented to various audiences. Six essays set the reproductions in historical context, and consider the challenges presented by works in various media and with varying degrees of accessibility, while a seventh considers how published verbal descriptions competed with visual reproductions. Rather than concentrating on the intentions of the artist, Barnes treats the prints as important indicators of the use of, and public reaction to, Michelangelo's works. Emphasizing reception and the construction of history, her approach adds to the growing body of scholarship on print culture in the Renaissance. The volume includes a comprehensive checklist organized by the work reproduced.

The artist Angie Lewin has a unique vision of the natural world. Her hugely popular prints depict in intricate detail the native flora of a variety of environments, from salt marsh and Highland loch to flower-strewn meadow and wild garden. Lewin finds beauty in each landscape, whatever the season, and is particularly inspired by plant forms: slender reeds, stately goatsbeard, spiky teasels and sculptural seed heads. Plants and Places presents over 70 of Lewin's beautifully crafted linocuts and wood engravings.The works are grouped according to habitat - such as coast, woodland and hedgerow, and garden - together with drawings, paintings and collages from Lewin's sketchbooks of grasses, seed pods, seaweed, shells and other objects that she has collected on her walks. In an engaging introduction, Leslie Geddes-Brown meets Lewin in her studio, discusses her artistic inspiration and her fascination with plants, and describes how she creates her prints.

First published 1990, this volume consists of an introductory essay by Ian Lowe and a comprehensive catalogue of all Wilfred Fairclough's prints, some 140, from 1932 to the present (1990). Al the prints are illustrated in the body of the catalogue for ease of identification and 48 are also reproduced as large format duotone illustrations. From the Royal College of Art, Wilfred Fairclough won the Rome Scholarship in Engraving in 1934 and was elected an Associate of the Royal Society of Painter-Etchers and Engravers in the same week. His engravings, inspired by his travels in Italy, Spain and Germany in the 1930s, were succeeded by etchings of British subjects and topography, notably of Oxford, until, with a Leverhulme grant, he returned to Italy in 1961. Increasingly, thereafter he has found his subjects and his inspiration in Venice, in concerts, restaurant interiors, and the Carnival, and in Lucerne, in markets and the human figure. Wilfred Fairclough has exhibited consistently at the Royal Society of Painter-Etchers and Engravers and at the Royal Academy (where his most recent Venetian subject, Venice Carnival. Clowns, sold out in three days). Now aged 83 he is still working. There has been no slackening off in his productivity nor in the quality of his work since he retired from teaching at the Kingston College of Art in 1972. The Catalogue is based on his own meticulous records. It will be an essential source of information for all who are interested in his work as a printmaker. Elected an Honorary Member of the Royal Society of Painter-Etchers and Engravers in 1975, Ian Lowe worked in the Ashmolean Museum in Oxford from 1962 until 1987. There he was responsible for the collection of nineteenth- and twentieth-century British prints. He arranged and catalogued numerous exhibitions including those devoted to ~F.L. Griggs, R.S. Austin, Robin Tanner, Alan Gwynne-Jones and Richard Shirley Smith. His association with Wilfred Fairclough dates from 1974. His introductory essay is both biographical and an appreciation of Fairclough's achievement as a printmaker. It is based on their correspondence, lectures, and meetings as well as on the study of the archives and records of the last sixty years.

Sung closely examines William Blake's extant engraved copper plates and arrives at a new interpretation of his working process. Sung suggests that Blake revised and corrected his work more than was previously thought. This belies the Romantic ideal that the acts of conception and execution are simultaneous in the creative process.

This pack contains 300 high-quality origami sheets printed with colorful and traditional Japanese designs. These vibrant origami papers were developed to enhance the creative work of origami artists and paper crafters. The pack contains 12 unique designs, and all of the papers are printed with coordinating colors on the reverse to provide aesthetically pleasing combinations in origami models that show both the front and back. This origami paper pack includes: 300 sheets of high-quality origami paper 12 unique designs Bright, saturated colors Double-sided color 4 x 4 inch (10 cm) squares

This book is aimed at helping budding interior designers learn how to draw professional looking interior designs. It is accessible, beautifully illustrated and practical. Guidance is given on drawing perspective, floor plans, drawing furniture and renditions of rooms. Filled with sketches and drawings, this is the ideal guide to producing successful drawings of interior designs.

The art of Edvard Munch is striking for the originality and universality of its themes, which cross moments in place and time. Yet he was very much an artist of the nineteenth century, and the focus of this publication is to show how especially in his prints and photographs Munch was enabled by technical advances developed by his contemporaries to create an entirely new visual language. Munch is probably best known for his desire to express emotions surrounding love, illness and death. However, the authors in this volume show that this preoccupation was not only based on biographical events but reflects wider contemporary debates on developments in medicine and science, including treatment of mental illness, as well as a proliferation of technical expertise in the production of prints. The arguments presented expand on subjects touched upon in the critically acclaimed British Museum exhibition Edvard Munch: love and angst (2019). Munch's remarkable prints were fundamental to establishing his international career, but there remains much to investigate in connection with the background to his innovatory techniques, his relationship with contemporary printmakers and his experiments with photography. The authors in this volume go some way to address these themes and outline future avenues of research.

This book examines the early development of the graphic arts from the perspectives of material things, human actors and immaterial representations while broadening the geographic field of inquiry to Central Europe and the British Isles and considering the reception of the prints on other continents. The role of human actors proves particularly prominent, i.e. the circumstances that informed creators', producers', owners' and beholders' motivations and responses. Certainly, such a complex relationship between things, people and images is not an exclusive feature of the pre-modern period's print cultures. However, the rise of printmaking challenged some established rules in the arts and visual realms and thus provides a fruitful point of departure for further study of the development of the various functions and responses to printed images in the sixteenth century. The book will be of interest to scholars working in art history, print history, book history and European studies. The introduction of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license at https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003029199-1/introduction-gra%C5%BCyna-jurkowlaniec-magdalena-herman?context=ubx&refId=b6a86646-c9f3-490d-8a06-2946acd75fda

Originally published in 1998, The Handbook of Modern British Painting and Printmaking 1900-1990 has been designed for people who enjoy, study and buy British art. The only portable dictionary-style guide to the life and work of modern British painters and printmakers, the book provides information on some 2,000 artists, as well as entries on schools of art, on museums, galleries and collections, on societies and groups, and critics and patrons who have influenced the development of modern art in Britain. Compiled by scholars, the entries are cross-referenced and each concise biographical outline provides the relevant facts about the artist's life, a brief characterisation of the artist's work, and major bibliographic references. Wherever possible, one or two suggestions for further reading are cited.

A step-by-step guide on how to create personal and contemporary linocut prints. A linocut is a relief print created by carving a design into a printing block. It is the uncut surface, not the carved away areas, that gives you your image when you roll it with ink, lay paper on top then apply pressure to produce a print. With 18 easy-to-follow projects that can be adapted to suit your own ideas, experienced printmaker Sam Marshall guides you through the whole process - from the drawing to the carving to the inking to the printing - of creating your own beautiful prints and handmade cards whether you are working from your kitchen table or a more advanced studio set-up. By taking inspiration from everyday life, Sam helps you to build your confidence with observational drawing. Featuring step-by-step projects, the book demonstrates a range of skills with low-cost materials to produce simple linocuts, reduction linocuts and colourful multi-block prints. You will also learn more experimental techniques such as combining monoprint, chine colle, jigsaw linocuts and rainbow rolls and pick up handy tips on subjects such as 'noise' and editioning your prints. Beautifully illustrated with photographs of Sam's own drawings and linocuts, and featuring the work of 5 talented printmakers, Linocut is an essential guide to linocut printmaking. Packed with creative and practical advice to guide and encourage you, whether you're just starting out, returning to the craft or looking to expand your printmaking skills.

"Multiple Impressions" examines works by 40 leading printmakers from contemporary China, highlighting the extraordinary innovations, in both technique and conception, which have transformed this long-established art form in recent years. It includes works by such artists as Xu Bing, Kang Ning, Song Yuanwen, Chen Qi, He Kun, and Fang Limin, as well as many other accomplished printmakers.

Essays by noted scholars place contemporary printmaking in its complex art historical and cultural contexts, discuss the relationship between printmaking and contemporary art, and interpret new work by the internationally prominent artist Xu Bing. The book explores three key themes in printmaking today: "Landscapes Old and New" illustrates the variety of techniques and visual idioms contemporary printmakers draw on to create expressive and fantastic landscapes; "Fellow Citizens" turns to the human figure; and "Layered Abstractions" focuses on works that showcase the distinct visual effects and pictorial language that underscore the process of making a print.

Xiaobing Tang is Helmut F. Stern Professor of Modern Chinese Studies and professor of comparative literature at the University of Michigan. Shang Hui is editor-in-chief of "Fine Arts Magazine" in Beijing. Anne Farrer is program director for the MA in East Asian Art at Sotheby's Institute of Art, London.

The most famous 18th-century copper engraver, Giovanni Battista Piranesi (1720-1778) made his name with etchings of ancient Rome. His startling, chiaroscuro images imbued the city's archaeological ruins with drama and romance and became favorite souvenirs for the Grand Tourists who traveled Italy in pursuit of classical culture and education. Today, Piranesi is renowned not just for shaping the European imagination of Rome, but also for his elaborate series of fanciful prisons, Carceri, which have influenced generations of creatives since, from the Surrealists to Samuel Taylor Coleridge, Edgar Allan Poe, Jorge Luis Borges, and Franz Kafka. Loosely based on contemporary stage sets rather than the actual dingy dungeons of Piranesi's day, these intricate images defy architectural reality to play instead with perspective, lighting, and scale. Staircases exist on two planes simultaneously; vast, vaulted ceilings seem to soar up to the heavens; interior and exterior distinctions collapse. With a low viewpoint and small, fragile figures, the prison scenes become monstrous megacities of incarceration, celebrated to this day as masterworks of existentialist drama.

First published 1990, this volume consists of an introductory essay by Ian Lowe and a comprehensive catalogue of all Wilfred Fairclough's prints, some 140, from 1932 to the present (1990). Al the prints are illustrated in the body of the catalogue for ease of identification and 48 are also reproduced as large format duotone illustrations. From the Royal College of Art, Wilfred Fairclough won the Rome Scholarship in Engraving in 1934 and was elected an Associate of the Royal Society of Painter-Etchers and Engravers in the same week. His engravings, inspired by his travels in Italy, Spain and Germany in the 1930s, were succeeded by etchings of British subjects and topography, notably of Oxford, until, with a Leverhulme grant, he returned to Italy in 1961. Increasingly, thereafter he has found his subjects and his inspiration in Venice, in concerts, restaurant interiors, and the Carnival, and in Lucerne, in markets and the human figure. Wilfred Fairclough has exhibited consistently at the Royal Society of Painter-Etchers and Engravers and at the Royal Academy (where his most recent Venetian subject, Venice Carnival. Clowns, sold out in three days). Now aged 83 he is still working. There has been no slackening off in his productivity nor in the quality of his work since he retired from teaching at the Kingston College of Art in 1972. The Catalogue is based on his own meticulous records. It will be an essential source of information for all who are interested in his work as a printmaker. Elected an Honorary Member of the Royal Society of Painter-Etchers and Engravers in 1975, Ian Lowe worked in the Ashmolean Museum in Oxford from 1962 until 1987. There he was responsible for the collection of nineteenth- and twentieth-century British prints. He arranged and catalogued numerous exhibitions including those devoted to ~F.L. Griggs, R.S. Austin, Robin Tanner, Alan Gwynne-Jones and Richard Shirley Smith. His association with Wilfred Fairclough dates from 1974. His introductory essay is both biographical and an appreciation of Fairclough's achievement as a printmaker. It is based on their correspondence, lectures, and meetings as well as on the study of the archives and records of the last sixty years.

Kanadehon Chushingura has been one of the most popular bunraku and kabuki plays. This fascinating study explores the full spectrum of ukiyo-e (floating world) representations of the Chushingura story. Essential reading for all students of Japanese theatre, the history of Japanese art and the social history of Japan.

In 1912-1913, James Ensor produced a series of 32 drawings in coloured pencil titled Scenes de la vie du Christ [Scenes from the life of Christ]. Each drawing on paper measures about 15 by 21 cm. The series depicts different episodes from the lives of Jesus and the Virgin Mary. In it, Ensor managed to combine the sublime and the grotesque in an unsurpassed manner. Some compositions are quite conventional, others typically 'Ensorian', and some even humorous. Among the works in the series is a drawing in which Ensor portrays himself as Christ, confronted with a dozen Belgian art critics who have gathered before him. In 1929 the drawings were made into lithographs and published in the form of an album by Galerie Georges Giroux in Brussels. These drawings can be considered as a link between the Ostend master's early and later oeuvre. The series combines various motifs which Ensor also executed in oil paint. The author of the work, Xavier Tricot, also pays close attention to the figure of Christ in James Ensor's work. From 1885 onward, the figure of Christ occupied a central position in Ensor's oeuvre. In some of his works, the artist identified with the Messiah.

Yoshitoshi (1839 - 1892) was the last virtuoso of the Japanese woodblock print, and the One Hundred Aspects of the Moon, published between 1885 and 1892, were his crowning achievement. This series - mainly illustrating stories from history and legend, unified by the motif of the moon - is charged with paradox. In order to carry forward the tradition of ukiyo-e, Yoshitoshi drew stylistic inspiration from the very forces that were rendering it obsolete - namely, Western art and mass media like photography and lithography. As if they realised they were witnessing the end of an era, the artist's public responded enthusiastically to his innovative series - many of the individual prints were sold out on the morning of their publication. This magnificent facsimile of One Hundred Aspects of the Moon reproduces each print at its original size, facing an explanation of the subject. A thorough introductory text, augmented with many comparative illustrations, traces Yoshitoshi's career and the genesis of this series. Printed and bound to the most exacting specifications, this volume will be a must for aficionados of Japanese prints.

Jim Dine's vivid, candid and detailed reminiscences about his friendship and working relationship with Aldo Crommelynck, the printer of Matisse and Picasso, over a period now of more than 30 years are full of affection, humour and layer upon layer of information. In conversations with the art historian Marco Livingstone, Dine, one of the greatest post-war American artists, charts the extent to which his experience of working with a man who was not only a great printer, but also a skilled draughtsman, an aesthete, dandy and bon viveur, coloured and enriched his experience of France on every level, from an appreciation of its art and culture, its city life and countryside, to its food and its specialist shops - especially those in which to find the best tools and musical instruments.Dine's ruminations take some unexpected but illuminating detours, even into the making of bespoke bicycles, that prove deeply revealing of the specific nature of his love for France and of his many debts to an esteemed colleague, fellow traveller and much loved friend.

Prints and drawings have been keenly collected in Europe since at least the early sixteenth century. Relatively modest in price, they offered artists, amateurs and collectors of a systematic turn of mind the opportunity to put together holdings with a wide representation of different hands, schools and types of subject. Prints and drawings are traditionally treated separately, but their collecting is shown here to raise many interrelated issues. Employing a wide range of methodologies, the essays in this volume offer a number of innovative investigations into the collecting, perception, classication and display of works on paper.

In the last decade of his life, Anthony van Dyck (1599-1641) undertook a printmaking project that changed the conventions of portraiture. In a series later named the Iconography, he portrayed artists alongside kings, courtiers, and diplomats-a radical departure from preexisting conventions. He also depicted his subjects in novel ways, focusing on their facial features often to the exclusion of symbolic costumes or props. In addition to illustrating approximately 60 works by Van Dyck and other artists from his era-particularly Rembrandt-this catalogue traces the artist's influence over hundreds of years. Showcasing both 17th century portraits in a variety of media and portrait prints by a wide range of artists spanning the 16th through the 20th centuries-including Albrecht Durer, Hendrick Goltzius, Francisco de Goya, Edgar Degas, and Jim Dine-the book demonstrates the indelible mark that Van Dyck left on the genre. Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (03/05/16-08/07/16)

This pack contains 500 high-quality origami sheets printed with fun and funky Tie-Dye Patterns. These colorful paper patterns were developed to enhance the creative work of origami artists and paper crafters. The pack contains 12 designs unique to this pack, and all of the papers are printed with coordinating colors on the reverse to provide aesthetically pleasing combinations in origami models that show both the front and back of the papers. This origami paper pack includes: 500 sheets of high-quality origami paper 12 unique designs Vibrant and bright colors Double-sided color 6 x 6 inch (15 cm) squares Instructions for 6 easy origami projects

This pack contains 500 high-quality origami sheets printed with delicate and cheerful cherry blossom designs. These colorful origami papers were developed to enhance the creative work of origami artists and paper crafters. The pack contains 12 unique designs, and all of the papers are printed with coordinating colors on the reverse to provide aesthetically pleasing combinations in origami models that show both the front and back. 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 unique designs Bright, vibrant colors Double-sided color 4 x 4 inch (10 cm) squares

Japanese woodblock prints of the Edo period (1615-1868) were the products of a highly commercialised and competitive publishing industry. Their content was inspired by the vibrant popular culture that flourished in Edo (Tokyo). At any given time scores of publishers competed for the services of the leading artists of the day. Publishers and artists displayed tremendous ingenuity in finding ways to sustain demand for prints and to to circumvent the restrictions placed upon them by government censorship. Japanese woodblock prints have long been appreciated in the West for their graphic qualities but their content has not always been fully understood. In recent years, publications by scholars in Japan, Europe and the United States have made possible a more subtle appreciation of the imagery encountered in them. This book draws upon this recent scholarship to explain how those who first purchased these prints would have read them. Through stunning new photography of both well-known and rarely published works in the collection of the British Museum, including many recent acquisitions, the author explores how and why such prints were made, providing a fascinating introduction to a much-loved but little-understood art form.