Printing colour 1400-1700 : history, techniques, functions and receptions /
In Printing Colour 1400¿́¿1700 , Ad Stijnman and Elizabeth Savage offer the first handbook of early modern colour printmaking before 1700 (when most such histories begin), creating a new, interdisciplinary paradigm for the history of graphic art. It unveils a corpus of thousands of individual colour...
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Full text (MCPHS users only) |
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| Other Authors: | , |
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Boston :
Brill,
2015
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| Series: | Library of the written word ;
41. Library of the written word. Handpress world ; 32. |
| Subjects: | |
| Local Note: | ProQuest Ebook Central |
MARC
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| 245 | 0 | 0 | |a Printing colour 1400-1700 : |b history, techniques, functions and receptions / |c edited by Ad Stijnman and Elizabeth Savage. |
| 264 | 1 | |a Boston : |b Brill, |c 2015. | |
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| 490 | 1 | |a Library of the written word, |x 1874-4834 ; |v volume 41 | |
| 490 | 1 | |a The handpress world ; |v VOLUME 32 | |
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a Introduction: a historical overview of printed colour before 1700 -- / Ad Stijnman and Elizabeth Savage. -- Part 1: an introduction to colour in printmaking 1400-1700 (1: Materials and Techniques for Early Colour Printing / Ad Stijnman and Elizabeth Savage -- 2: Colour Printing in Relief before c.1700: A Technical History / Elizabeth Savage -- 3: Colour Printing in Intaglio before c.1700: A Technical History / Ad Stijnman). -- Part 2: the advent of colour printing, C.1400-1500 (4: Colour Stamping in the Late Fifteenth and Sixteenth Centuries: Technical Sources and Workshop Practice / Doris Oltrogge -- 5: The Fust and Schöffer Office and the Printing of the Two-Colour Initials in the 1457 Mainz Psalter / Mayumi Ikeda -- 6: Colour-Printed Pasteprints, 1460s-1480s / Andreas Uhr -- 7: The Birgittines of The Netherlands: Experimental Printers and Colourists / Kathryn M. Rudy). -- Part 3: the renaissance in colour, C.1476-1600 (8: A Printer's Art: The Development and Influence of Colour Printmaking in the German Lands, c.1476-c.1600 / Elizabeth Savage -- 9: Hans Wechtlin and the Production of German Colour Woodcuts / Alice Klein -- 10: Ugo da Carpi's Diogenes / Naoko Takahatake -- 11: The Chiaroscuro Woodcut Printmaking of Ugo da Carpi, Niccolò Vicentino and Antonio da Trento: Technique in Relation to Artistic Style / Linda Stiber Morenus -- 12: A Technical Study of Sixteenth-Century Italian Chiaroscuro Woodcuts / Beth A. Price, Nancy Ash, Haddon A. Dine, Shelley Langdale, Ken Sutherland, Lucia Burgio and Jo-Fan Huang -- 13: 'Divine, August and Immortal': The Potentials and Limitations of Colour Printing in the Low Countries, c.1555 / Edward H. Wouk) -- Part 4: vivid mannerism, c.1588-1650 (14: Hendrick Goltzius's Chiaroscuro Woodcuts Revisited / Marjolein Leesberg -- 15: Dürer in Chiaroscuro: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints / Anja Grebe -- 16: The 'Camaïeu' Print in Seventeenth-Century Paris: On the Origins of Multi-tonal Printmaking in France / Alexander Dencher). -- Part 5: product innovation and commercial enterprise, c.1620 -1700 (17: On Hercules Segers's 'Printed Paintings' / Jun Nakamura -- 18: Opus typo-chromaticum: The Colour Prints of Johannes Teyler / Simon Turner -- 19: Colourful Topography: A Short-Lived Practice in Amsterdam Print Publishing around 1700 / Elmer Kolfin and Marrigje Rikken). -- Conclusion: printing colour after 1700 (Jacob Christoff Le Blon and the Invention of Trichromatic Colour Printing, c.1710 / Ad Stijnman). -- Appendix 1: chronology appendix -- 2: glossary. -- Bibliography | |
| 520 | |a In Printing Colour 1400¿́¿1700 , Ad Stijnman and Elizabeth Savage offer the first handbook of early modern colour printmaking before 1700 (when most such histories begin), creating a new, interdisciplinary paradigm for the history of graphic art. It unveils a corpus of thousands of individual colour prints from across early modern Europe, proposing art historical, bibliographical, technical and scientific contexts for understanding them and their markets. The twenty-three contributions represent the state of research in this still-emerging field. From the first known attempts in the West until the invention of the approach we still use today (blue-red-yellow-black/¿́¿key¿́¿, now CMYK), it demonstrates that colour prints were not rare outliers, but essential components of many early modern book, print and visual cultures. | ||
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| 650 | 0 | |a Color prints, European. | |
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