Archive for the ‘Prints’ Category

William P. Barrett, The Library of George Frederick Ernest Albert Prince of Wales, 1904. UD Library: William Augustus Brewer Bookplate Collection

William P. Barrett, The Library of George Frederick Ernest Albert Prince of Wales, 1904. UD Library: William Augustus Brewer Bookplate Collection

Despite entreaties to the contrary, the debate about e-books vs. printed books doesn’t seem to be going away anytime soon. Traditionalists frequently tout the sensual pleasures of paper (smell, which doesn’t have much to do with reading, comes up often), while readers of electronic devices usually point to convenience. There have even been studies about which format is better for comprehension and retention.

One thing that never comes up? Bookplates! Laugh if you want, but those small decorative labels with the book-owner’s name can be quite beautiful, and we haven’t yet seen an e-reader with one. Take a look at these examples from the University of Delaware’s William Augustus Brewer Bookplate Collection to see what they’re missing. (more…)

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artstor_logo_rgbThe Artstor Digital Library and the University of Wisconsin-Milwaukee are collaborating to share 7,000 images of works from the UWM Art Collection.

The UWM Art Collection encompasses 7,600 objects – western and non-western art, ancient to contemporary. Areas of special strength include prints from the 15th to 20th century, Greek and Russian Icons, American folk art, and ethnographic collections of Africa and Oceania. The Blanche and Henry Rosenberg Collection of Modern Art is an impressive grouping of two- and three-dimensional works representing the major stylistic trends of the first half of the twentieth century. Notable artists featured in this collection of over 300 objects includes Jean Arp, Joan Miró, Henry Moore, Victor Vasarely, Alexander Calder, and Pablo Picasso. The Rogers Family Collection of Greek and Russian Icons represents a remarkable array of icons, many dating to the fifteenth and sixteenth centuries. The collection also consists of numerous liturgical objects, finely executed in gold, bronze, wood, and enamel, including reliquary and processional crosses, chalices, spoons, as well as secular pieces such as Byzantine coins and jewelry. The Emile H. Mathis II Print Collection is an expansive assemblage of 1,500 works on paper spanning 500 years of art history. The collection, which represents Mathis’ lifetime passion for fine art, includes excellent examples of 17th century etchings by Jacques Callot and Rembrandt van Rijn; 19th century French, British, and American printmakers including Francis Seymour Haden, James Abbott McNeill Whistler, and Henri de Toulouse-Lautrec; early 20th century prints by Kathe Kollwitz, Pablo Picasso, and Joan Miró; and extensive holdings of late 20th century American artists: Jasper Johns, Andy Warhol, Jim Dine, Claes Oldenburg, and Robert Rauschenberg. The African art collection provides an encyclopedic overview of 19th and early 20th century African art, with objects from nearly one hundred different cultural areas and twenty-three different countries.


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artstor_logo_rgbArtstor and the Davison Art Center at Wesleyan University are collaborating to release more than 15,000 images of prints and photographs from the Center’s permanent collection in the Digital Library. A selection of these images will also be made available in Artstor’s Images for Academic Publishing (IAP) program.

The Davison Art Center (DAC) collection consists of some 24,000 works of art on paper, mostly original prints and photographs, with smaller numbers of works in other media. The print collection is considered to be one of the most important at any American university. It includes fine impressions of works by Dürer and Northern and Italian Renaissance artists; Rembrandt and his contemporaries; Goya; nineteenth-century French painter-printmakers such as Manet and Millet; American modern and contemporary artists; and Japanese ukiyo-e woodcuts. The DAC’s photographs range from calotypes and daguerreotypes made in the 1840s, to work by later photographers such as Lewis Hine and Berenice Abbott, to images by contemporary artists including Duane Michals and Cindy Sherman. (more…)

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Artstor and Lafayette College are collaborating to release over 300 images in the Digital Library from the Experimental Printmaking Institute.

artstor_logo_rgbThe Experimental Printmaking Institute (EPI) at Lafayette College is a unique printmaking laboratory that enables students to work hand in hand with professional artists using traditional techniques in concert with experimental approaches. For almost 20 years, EPI has produced editions by artists such as Faith Ringgold, Richard Anuszkiewicz, David Driskell, Grace Hartigan, and Sam Gilliam. The results of these collaborations are included in the permanent collections of many important museums, colleges, and universities. EPI partnered with Lafayette College’s Digital Scholarship Services (DSS) department to digitize and catalog its collection. (more…)

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It wasn’t a particularly auspicious start. On February 6, 1799, an announcement appeared on the front page of the Diario de Madrid advertising Los Caprichos:

A series of prints of whimsical subjects, invented and etched by Don Francisco Goya. The artist, persuaded that the censure of human errors and vices—though it seems to belong properly to oratory and poetry—may also be the object of painting, has chosen as appropriate subjects for his work, among the multitude of extravagances and follies which are common throughout civilized society, and among vulgar prejudices and frauds rooted in custom, ignorance, or interest, those which he has believed to be most apt to provide an occasion for ridicule and at the same time to exercise his imagination.[1]

The advertisement goes on to assure potential collectors that the subjects of the prints are imaginary and that “in none of the compositions constituting this series has the artist proposed to ridicule the particular defects of this or that individual…”

It closes with the address where the prints can be bought—the ironically named No. 1 Calle del Desengaño, or Street of Disillusion #1—and the price: 320 reales for the set, the equivalent of one ounce of gold. The unusual venue, a perfume and liquor store near Goya’s apartment, was the result of the artist not being able to find a regular bookshop to handle the sale, according to Goya biographer Robert Hughes.

The venture was a resounding failure. Only 27 sets of the edition of 300 sold, and Goya withdrew Los Caprichos from public sale shortly after their release, afraid of falling foul of the Inquisition. It was a substantial monetary loss for the artist.


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Charlotte Perriand, Travail Et Sport; Salle À Manger - Cuisine – Bar, 1929, New York School of Interior Design Library, library.nysid.edu. © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris

Charlotte Perriand, Travail Et Sport; Salle À Manger – Cuisine – Bar, 1929, New York School of Interior Design Library, library.nysid.edu. © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris

Artstor and the New York School of Interior Design (NYSID) are now sharing more than 450 images of pochoir prints and photographic depictions of interior retail architecture and design in Paris from 1928-1932.

The pochoir process, made by applying layers of paint guided by thin zinc or copper cut-out stencils, is characterized by its crisp edges and brilliant colors. Pochoir illustration was popular in 1920s Paris and was often featured in French fashion journals such as Le Jardin des Dames et des Modes and the Gazette du Bon Ton. Both the pochoir and photographic plates represent Art Deco design in the period following the International Exposition of Modern Industrial and Decorative Arts of 1925. (more…)

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Aubrey Beardsley, Le Morte D'Arthur; "La Beale Isoud at Joyous Gard", 1893. Image and catalog data provided by Allan T. Kohl, Minneapolis College of Art and Design

Aubrey Beardsley, Le Morte D’Arthur; “La Beale Isoud at Joyous Gard”, 1893. Image and catalog data provided by Allan T. Kohl, Minneapolis College of Art and Design

Aubrey Beardsley was born on August 21, 1872. Despite dying of tuberculosis at the young age of twenty-five in 1898, the artist managed to have a brilliant career full of controversy and scandal. He shot to fame with his illustrations for Thomas Malory’s Le Morte D’Arthur in 1893, and then became notorious for his illustrations for Oscar Wilde’s Salome (1894).

Recurring images throughout his career follow two seemingly incongruous paths. There is an emphasis on sly, clever wickedness; a youthful disregard for propriety; and an interest in the perverse and profane. Overlapping imagery of melancholia and death lead the second path. These two broad and inconsistent currents each render distinct images of the same artist who was drawn to scandal and associated himself with the 1890s Symbolist crowd often scorned by the arts elite and general public alike.

The images in this post come from the Minneapolis College of Art and Design and George Eastman House collections in the Artstor Digital Library.

– Elizabeth Darocha Berenz

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