History of Graphic Arts

Benedetta Cappa Marinetti does not simply write novels, she constructs them. Over the span of ten years, Benedetta pairs narrative first with images, then with performative elements, and lastly, with letters. She applies her abstract and conceptual style to observable and palpable works. In her first novel, Le forze umane (1926), Benedetta parallels handwritten words to hand- drawn images, or what she terms as “graphic syntheses.” From this autobiographical beginning, Benedetta immerses her audience into the timeline of her own life events. Surpassing a simple documentary or chronological account, Benedetta embeds her own states of mind in the narrative, a practice also explored by Futurist Giuseppe Steiner. In her next novel, Viaggio di Garar (1931), Benedetta continues to incorporate visuals into her narrative, however, not to convey states of mind, but to immerse the reader into another realm: the theater. Viaggio di Garar is a “cosmic novel for the theater,” allowing the work to be flexibly read as both a script and a novel. Her final novel, Astra e il sottomarino (1936) evokes an epistolary model, continuing her interest in the participatory elements of script and narrative. Benedetta’s much overlooked literary narrative includes a female perspective missing from many of her fellow Futurists’ novels.

The paper (The Dissertation of Béla Kondor - Scenes from the time of György Dózsa) is a revised version of my defended MA these in 2017. The topic of it is the early event of the form of the myth around Béla Kondor itself and his art and deals with the formation of history and the judgement in its age of the Scenes from the time of György Dózsa etching series which became 'legendary' already in the year of 1956.

Ausstellungskatalog zur gleichnamigen Ausstellung für die Kunstbibliothek im Museum für Fotografie Berlin

Exhibition catalogue to the exhibition curated for for the Kunstbibliothek at the Museum für Fotografie Berlin

Überwachung ist nicht nur ein aktuelles Thema, sondern auch ein historisches Phänomen. Dieser Ausstellungskatalog präsentiert eine Genealogie des überwachenden Blicks.
Vor dem apparativen Auge der Kamera, das heutzutage allgegenwärtig ist, haben andere „Augen“ Menschen überwacht. In der Epoche der Aufklärung symbolisierte das Auge der Vernunft eine selbstüberwachende Idee. Derzeit wurden Staat und Gesetz mit einem allsehenden Auge identifiziert. Den ikonografischen Ursprung hierzu bildet das religiöse Symbol vom Auge Gottes. Dieses „Auge“, das alle Aktionen und Gedanken eines Christen erfasst, übte, als unsichtbare Instanz, eine mächtige Wirkung auf den Gläubigen aus. Sei es Gott, Staat oder Technik – konstant bei dieser Genealogie bleibt der psychologische Druck einer unüberprüfbar höheren Instanz.
Der Titel geht auf einem anonymen Holzschnitt aus dem Jahr 1546 zurück. Aus einer entfernten Vergangenheit sendet dieses Bild die Botschaft: „Vorsicht, Ihr werden gesehen, gehört!“.

Art Periodical Culture in Late Imperial Russia (1898-1917). Print Modernism in Transition offers a detailed exploration of the major Modernist art periodicals in late imperial Russia, the World of Art (Mir Iskusstva, 1899-1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo(Apollon, 1909-1917). By exploring the role of art reproduction in the nineteenth century and the emergence of these innovative art journals in the turn of the century, Hanna Chuchvaha proves that these Modernist periodicals advanced the Russian graphic arts and reinforced the development of reproduction technologies and the art of printing. Offering a detailed examination of the “inaugural” issues, which included editorial positions expressed in words and images, Hanna Chuchvaha analyses the periodicals’ ideologies and explores journals as art objects appearing in their unique socio-historical context in imperial Russia.

Fotis Kontoglou constitutes a unique case in Modern Greek book production. He was himself a writer and man of letters, as well as an illustrator and editor of the books that he published. The most interesting element, however, in Kontoglou’s integrated ap-proach to book production was his attempt to design his books as aesthetic objects in themselves, thus attaching meaning not only to their content and illustration, but also to the interconnections among text, image and the other material elements of book printing
(paper, cover, fonts, colors, etc.). The study of these interconnections has been largely neglected in the bibliography that relates to Kontoglou’s writing and illustration work. It is our intention to approach these elements by combining methodological tools from Social Semiotic (multimodality theories) and Art History. The main issues that concern us are the following: (a) The description of the main multimodal prototype according to
which Kontoglou arranged the syntagmatic relations between text and image on the book page. We will also look at this prototype’s evolution from his first to his last books, as well as the way it relates to the reality of his times in Greece and around the world. (b) The analysis of the multimodal paradigmatic relations in the printing elements, such as the fonts, covers, printing paper, book size, one-color or two-color illustrations etc., elements which were of paramount importance to Kontoglou. (c) The search for the multimodal meaning of the books with respect to its communication potential and Kontoglou’s ideological agenda. (d) The interpretation of Kontoglou’s multimodal prototype (“art of the book” as he called it) in the context of the socio-cultural conditions of his times and its diachronic resilience.

Il rapporto di Giovanni Baglione pittore con la stampa di riporto non gode di un ricco catalogo, come dimostrano i pochi esemplari all'interno delle grandi collezioni di grafica. Il fatto che i suoi dipinti siano stati raramente riprodotti su carta va probabilmente ricercato più negli orientamenti pittorici dell'artista, che non in una programmatica omissione da parte degli incisori del tempo e in quelli che seguirono. Poco assimilabile nella maggior parte delle sue opere alla visione caravaggesca, e neppure pedissequo seguace della corrente manierista, ma in assidua ricerca e in continua evoluzione, fin dall'inizio Baglione non fu considerato un modello preferenziale nel campo della riproduzione a stampa, che invece tendeva a seguire le correnti pittoriche, in un desiderio di sistematizzazione intrinseco alla natura delle raccolte incise 1 .

Grafika zauzima važno mjesto u kompleksu ekspresionističkih strujanja koja su obilježila europsku i hrvatsku umjetnost u prvim desetljećima 20. stoljeća, te dovela do revitalizacije i afirmacije medija u odnosu na slikarstvo i kiparstvo. Hrvatska ekspresionistička grafika nije se formirala pod izravnim utjecajem njemačke umjetnosti i dresdenske grupe Die Brücke (Most) već je do prihvaćanja novih vizualnih obrazaca došlo posrednim putem i iz sekundarnih izvora. Predstavnici tzv. praške četvorke Marijan Trepše, Vilko Gecan Miroslav Kraljević, Tučnjava, 1912. 38 STRAST I BUNT ekspresionizam u hrvatskoj

Албрехт Дирер је 1515. године начинио чувени дрворез са представом носорога која се није темељила на директној опсервацији природе, већ на ликовном предлошку, цртежу праћеном написом који је носио опште информације о овој егзотичној животињи. Он су се заснивале на непосредном искуству анонимног аутора цртежа  на литерарним изворима. У досадашњој литератури, Диреров ”Носорог” је посматран у контексту његових уметничких квалитета, али и не и у контексту слојева значења које је та представа носила и као дијаграмска и као декрипвна представа, судећи по напису који је пратио оригинални цртеж носорога, што представља и основу тезу овог рада.

Кључне речи
Албрехт Дирер, Носорог, директна опсервација природе, спекулација, нормативни потенцијал представе

Abstract
In 1515, Albrecht Dürer made his famous woodcut representation of rhinoceros, which was not founded on direct observation of the exotic animal the artist had never seen in person, but on a pictorial source that Durer copied. It was, now lost, drawing of it, made by an anonymous author, accompanied by a written description of the animal that bore general information about it that was based on both direct experience and literary sources. Durer's "Rhinoceros" has been considered mostly in the context of its artistic qualities, or the perfection of his technical skills as engraver. In this essay are considered diagrammatic and descriptive qualities of this representation, in the context of theoretical knowledge/speculation vs. direct observation of natural phenomena in the 16th century.

Keywords
Albrecht Dürer, Rhinoceros, direct observation of nature, speculation, normative potential of representation

The research aimed at studying and analysing the contemporary art publishing system in Milan during the Thirties, on the basis of a mapping of the specialised book production with a major focus on its forms, mechanisms and leading figures.
The work spanned a preliminary phase designed to identifying the study materials, to defining the research boundaries and fields in a quite unusual historiographical perspective, poised between history of art and publishing, on a ground where the dynamics related to the artistic promotion and its consumption, to the publishing market and to the book production chain are mutually intertwined.
Because of their peculiarities, such as the material profile as well as the target audience, art books prove to be products with distinct features and issues within the publishing industry. In the Thirties, such specificity interact with a crucial debate on the identity of contemporary art, prefiguring a new historical context characterised by the unprecedented development of editorial initiatives aimed at the codification and dissemination of the values of the current figurative culture.
The entire study was based on the systematic mapping of publications issued between 1929 and 1943 – a chronological arc identified as the most congruent for the purposes of the investigation – carried out according to the analysis of coeval sources, such as bibliographic guides and bulletins, book sales catalogues, specialised libraries records. The evaluation and cataloguing of each editions took into account specific parameters selected depending on the nature of art books and more specifically considering the central role of photomechanical reproductions in the production chain. All information was gathered in a database converted into an organised repertory with technical entries and indexes of editorial presences.
The results of this broad census led the research considering the great issues of the productive system, the emerging literary genres, and the reproduction and printing processes of images, making references to theory as well as to texts, printed and archive sources, until broadening the field of investigation to include a comparison with the related Italian and foreign coeval publishing.
The thesis is thus divided into three main parts, introduced by an attempt to define the forms of contemporary art books and by a check of the performance of editorial production. This section shed light on an existing  periodization within the chronological extremes closely intertwined with a wide variety of ongoing dynamics directly affecting the publishing sector, among which the consolidation of a new collecting, the contextual developments in the field of art politics and the technological advances of the graphic industry are just some of the most relevant.
The analysis of the publishing system chiefly looked to define the players, actually the figures personally involved in the production chain, thus outlining for the first time a structured map of publishers, photoengravers, typographers and printers. In fact, among the prerogatives of the sector, one which undoubtedly stands out is the fragmentation of the entrepreneurial figures ascribable to the high specialization standards which illustrated books require and to the creation of which contribute multiple professional profiles and skills. The panorama of the publishers itself revealed a remarkable diversification corresponding to a consistent permeability to the context of the galleries and the art market as well as to the context of magazines, thus making it possible to reconsider places which according to historiography live apart.
Shifting the goal to the publishing production, namely to the books object of the investigation, the work addressed the issues related to the forms of dissemination of new figurative values, in response to the coeval ongoing process aiming at their accomplished definition. In keeping with the mapping, and tapping into a comprehensive overview and a wealth of aspects typical of the product book considered in the research, the perspective aimed at highlighting the emerging genres, such as the book-catalogue, the panorama, the series of artist monographs, while reflecting on their fortune, among gaps, drifts, continuity and innovative elements, also based on a comparison with international models.
Finally, a key part of the work consisted in examining the photomechanical reproduction and printing processes employed in the production of books: a crucial issue inherently belonging to the specificity of art publishing – based on reproductions and their mise en page – that, however, appears largely overlooked by historiography. Mindful of the technical equipment, the processing steps and the graphic results, the research carried out confirmed the value of this investigation line, while shedding light on the role that the technological innovations achieved in the Thirties played not only in determining the materiality and grammar of images, and hence the very reception of art, but the very publishing forms. Significantly new features emerged, in particular, in relation to the colour reproduction and its renovated, quickly booming commercial systems, such as fotocolor, whose first diffusion this work retraced.
The appendix presents the final catalogue of books entries as well as indexes and lists, including the complete listing of publishing series.

The loss of the provinces of Alsace-Lorraine to the German Empire in the aftermath of the disastrous Franco-Prussian War in 1870-71 was a serious blow to French national pride, one which the majority of the nation's citizens tried mightily to forget in the ensuing decades. But in southern Lorraine, centered on the city of Nancy--which the Germans did not annex in 1871 and where many émigrés from these "lost provinces" had resettled--the memory of the war and the division of the region of Lorraine remained strong. Nancy's citizens mounted a campaign through all types of media, beginning in the 1880s and lasting until the end of the First World War, to reawaken the national drive to return Alsace-Lorraine to French rule. This essay reveals the myriad means of communication and material culture used by Lorrainers to rekindle this desire on regional, national, and international levels, and make it the central unifying tangible goal of the weary French nation as the First World War dragged on.

*** English abstract in archive***

O presente trabalho tem como objetivo compreender, através de anúncios publicitários veiculados em revistas de grande circulação entre os anos de 1968 e 1973, as relações estabelecidas entre o regime ditatorial brasileiro e importantes setores da sociedade civil brasileira: as camadas médias e altas, amplas consumidoras das mercadorias anunciadas e interlocutoras privilegiadas dos anúncios, nos quais se expressam imaginários sociais, valores morais, anseios e expectativas; o amplo leque de anunciantes, com seus distintos objetivos mercadológicos e ideológicos, indo do próprio governo ditatorial à burguesia nacional e internacional, e suas intersecções; e o setor publicitário, que na criação dos anúncios reúne não somente objetivos e expectativas dos outros dois agentes, mas também expressam sentidos e questões inerentes à própria profissão. O resultado é um produto cultural bastante singular e revelador das tensões políticas e sociais existentes no contexto ditatorial, sobretudo nos anos do "milagre econômico", que condensam tais tensões na dupla alcunha de "anos de ouro" e "anos de chumbo", e que compõem o recorte temporal desta pesquisa.

Giudecca, Uomo sdraiato su un prato, Donna in giardino, Piazza del Duomo e Periferia sono i titoli di cinque opere incisorie ad acquaforte e puntasecca realizzate da Umberto Boccioni tra il 1907 e il 1908. La scelta di focalizzare l’attenzione su questa serie di stampe è determinata dalla volontà di sviluppare un discorso specifico stimolato da una primaria lettura tematica dei soggetti iconografici. Su tale base, si ravvisa in ciascuna di dette incisioni la linea di un’affascinante evoluzione formale e stilistica intrapresa dall’artista nella rappresentazione, e nella percezione, del paesaggio-ambiente durante la sua fase prefuturista fino ai prodromi dell’avanguardia.

W artykule omówiona została graficzna twórczość młodopolskiego malarza Jana Skotnickiego, przypadająca na lata 1909–1914. W 1908 r. artysta wraz z żoną Teodorą z Trenklerów wyjechali z Krakowa do Zakopanego. Pobyt artysty zbiegł się w czasie z intensywnym rozwojem kulturalnym kurortu. W miejscowe inicjatywy Skotnicki angażował się osobiście, przy finansowym wsparciu swego teścia, łódzkiego przemysłowca i kolekcjonera, Henryka Grohmana. Jednocześnie tutejszy krajobraz i popularna w owym czasie góralska sztuka ludowa, zupełnie artysty nie inspirowały, przez co niemal zarzucił malarstwo, a zainteresował się grafiką i kilimiarstwem. Polem nowych zainteresowań stała się otwarta staraniem Grohmana eksperymentalna pracownia wyposażona m.in. w prasy drukarskie. W kolejnych latach Skotnicki prezentował swoje ryciny na licznych wystawach, także tych towarzyszących organizowanym konkursom graficznym (1911, 1914), a po wyjeździe do Warszawy (1912) przyłączył się do Towarzystwa Przyjaciół Sztuk Graficznych.
Skotnicki uprawiał techniki metalowe, bardzo szybko osiągając w nich wysoki poziom zauważony przez krytyków. Łączył akwafortę, akwatintę, suchą igłę i ruletkę, eksperymentował z drukiem barwnym i kolorował odbitki, mocno indywidualizował prace podczas ich odbijania, stosując tintę. Jego dorobek graficzny oszacowany zastał na ponad 50 kompozycji, przy czym w kolekcjach publicznych znajduje się ich obecnie przynajmniej 36. Są to pejzaże, widoki miasteczek i architektury, akty, studia postaci i zwierząt, w wielu przypadkach wzorowane na własnych szkicach i obrazach. Tematycznie i kompozycyjnie wykazują one wiele podobieństw do prac twórców młodopolskich, zarówno z grona profesorów (J. Stanisławski), jak i rówieśników podejmujących próby graficzne (W. Skoczylas). W sposobie budowania kompozycji, kadrowania, asymetrii i fragmentaryczności przedstawień widoczne są wpływy sztuki japońskiej, stanowiącej ważne źródło inspiracji za sprawą kolekcji i działalności Feliksa „Mangghi” Jasieńskiego. Znacząca była również kolekcja Grohmana, za pośrednictwem której Skotnicki mógł poznać twórczość XIX-wiecznych odnowicieli sztuk graficznych, jak i artystów kolejnych pokoleń (J.M. Whistler, F. Rops, E. Carrière), co znalazło odbicie w jego rycinach.
Nieco zapomniana działalność Skotnickiego wpisuje się w ogólniejszą tendencję: zainteresowania młodopolskich artystów sztukami graficznymi i zaangażowania na rzecz ich popularyzacji na przełomie XIX i XX w. Jest przykładem poszukiwania własnego języka wypowiedzi w nowym medium, samodzielnie podejmowanego eksperymentu. Choć Skotnicki nie był pionierem sztuk graficznych na ziemiach polskich, to z pewnością stał się ich propagatorem.

/

The article discusses the graphic output of Jan Skotnicki, a painter of Young Poland, which he created in the years 1909–1914. In 1908, the artist and his wife, Teodora née Trenkler, left Cracow for Zakopane. The artist’s stay there coincided with the intensive cultural development of the resort. Skotnicki was personally involved in local initiatives, with the financial support of his father-in-law, an industrialist and art collector from Łódź, Henryk Grohman. However, the local landscape and the highland folk art popular at that time did not suit him at all. As a result, he nearly gave up painting and became interested in prints and kilims. An experimental studio, opened thanks to Grohman’s efforts, became Skotnicki’s new field of interests. It was equipped with, among other things, printing presses. In the following years, Skotnicki presented his prints at numerous exhibitions, including those accompanying print competitions (in 1911 and 1914), and after moving to Warsaw (in 1912), he joined the Society of Friends of Graphic Arts.
Skotnicki used metal techniques and quickly achieved a master level, which was noticed by critics. He combined etching, aquatints, dry points and roulette, experimented with colour printing and coloured prints. He strongly individualised his works while creating prints by using tint. His graphic output was estimated at more than 50 compositions, with at least 36 currently in public collections. They include landscapes, views of towns and architecture, nudes, studies of figures and animals, which in many cases were modelled on his own sketches and paintings. In terms of themes and composition, they show many similarities to the works of Young Poland artists from the group of professors (J. Stanisławski) as well as peers undertaking graphic attempts (W. Skoczylas). The way of building the composition, framing, asymmetry and fragmentation of the representations reveal the influence of Japanese art, which was an important source of inspiration thanks to the collection and activity of Feliks "Manggha" Jasieński. Grohman’s collection was also significant, as Skotnicki could learn from it about the works of 19th-century restorers of graphic arts, as well as about the artists of subsequent generations (J. M. Whistler, F. Rops, E. Carrière), which was reflected in his prints.
The somewhat forgotten activity of Skotnicki was part of a more general trend: the interest of Young Poland artists in graphic arts and their involvement in their popularisation at the turn of the 19th and 20th centuries. His output is an example of searching for one’s own language of expression in a new medium, and an experiment he performed independently. Although Skotnicki was not a pioneer of graphic arts in Poland, he certainly became their promoter.

This paper focuses on the history of the Italian Photographic Society (SFI), during the first decade of the 1900. The study of this Society, struggled between tradition and modernity, brought up several issues concerning the reflection about the remarkable role of reviews in the development of Italian photography. Conscious of the necessity to create a beautiful and modern journal, the SFI tried to renovate the structure of its “Bullettino della Società Fotografica Italiana” taking contacts with the typographer Raffaello Bertieri and its magazine “Il Risorgimento Grafico”. Through the study of the “Bullettino”, completed with documents found at the Archivio della SFI in Florence, it has been possible to investigate the reasons which led to this unsuccessful change and the collapse of this society.

Kuratiert für die Kunstbibliothek, Museum für Fotografie Berlin, SMB. 17.02.-02.07.2017

"The Field hat Eyes …": Images of the Surveillant Gaze. Exhibition curated for the Kunstbibliothek, Museum für Fotografie Berlin, SMB. 7.02.-02.07.2017

قباد شیوا، متولد 1319 در شهر همدان است. او در دانشکده هنرهای زیبای دانشگاه تهران، در رشته نقاشی تحصیل کرد و در سال ۱۳۴۵ فارغ‌التحصیل شد. پس از چند سال تجربه به نیویورک رفت و در سال 1359 از انستیتو پرت (Pratt) مدرک کارشناسی ارشد خود را دریافت کرد. از جمله فعالیت‌های اجرایی قباد شیوا می‌توان به تأسیس بخش گرافیک در صداوسیمای ایران در سال 1347 یا راه‌اندازی بخش گرافیک انتشارات سروش در 1350 اشاره کرد. همچنین او از جمله مؤسسین انجمن صنفی طراحان گرافیک ایران و پایه‌گذار اولین دوسالانه بین‌المللی پوستر تهران در 1382 است. داوری در جشنواره‌ها و بینال‌ها، تدریس در دانشکده‌های هنر از 1355 و آتلیۀ شخصی‌اش از دیگر فعالیت‌های حرفه‌ای او بوده است. آثار شیوا در مجلات متعدد خارجی بارها به چاپ رسیده است. در ایران نیز به غیر از دو کتابِ مجموعه آثارش، تعداد زیادی مقالات و گفت‌وگو نیز در مجلات مختلف از او منتشر شده است. همچنین انجمن بین‌المللی طراحان گرافیک (AGI) او را به عنوان یکی از طراحان گرافیک برتر جهان منتخب کرده است. او در کنار سفارش محصولات متنوع گرافیکی اعم از فرهنگی و تجاری یا دیزاین محیطی، نمایشگاه‌های متعددی نیز از آثار عکس، نقاشی و بیشتر البته طراحی گرافیک خود در سراسر جهان به نمایش گذاشته و آثارش به موزه‌ها و مجموعه‌های هنری زیادی راه یافته است.

Illustration is fundamental to our engagement with images. It has either stood in for language or been implicit in the introduction of language for centuries, presenting ideas and communicating stories to both preliterate and literate societies. It must therefore be recognised that illustration has a rich and complex history which has been influenced by events including the printing and publishing revolution, literary movements, religious storytelling, and scientific discovery, while remaining a separate and distinct practice. Rick Poynor states that illustration is widely regarded “as an adjunct of design” leading to the decreasing recognition of its distinct historical lineage by practitioners, educators, and students alike. The result is a practice overwhelmingly attached to the present and immediate future, focused on passing trends with only occasional and selective reference to the practice’s rich cultural and artistic heritage. This is a unique state within the arts or any subject beyond. Wider art and design practices have established and dedicated historical and critical frameworks, yet it is difficult to pinpoint these within illustrative practice and scholarship. This article considers how and why this shift has occurred, discussing methods of inquiry and potential outcomes of the rediscovery and synthesis of the disparate strands of the history of illustration.

Illustration is fundamental to our engagement with images. It has either replaced language or been implicit in the introduction of language for centuries, presenting ideas and communicating stories to both pre-literate and literate societies. It must therefore be recognised that illustration has a rich and complex history which has been influenced by events including the printing and publishing revolution, literary movements, religious storytelling and scientific discovery, whilst remaining a separate and distinct practice. Rick Poynor states illustration is widely regarded "as an adjunct of design" leading to the decreasing recognition of its distinct historical lineage by practitioners, educators and students alike. The result is a practice overwhelmingly attached to the present and immediate future, focused on passing trends with only occasional and selective reference to the practice’s rich cultural and artistic heritage. This is a unique state within the arts or any subject beyond. Wider art and design practices have established and dedicated historical and critical frameworks, yet it is difficult to pinpoint these within illustrative practice and scholarship. This paper considers how and why this shift has occurred, discussing methods of inquiry and potential outcomes of the rediscovery and synthesis of the disparate strands of the history of illustration.

Resumo
A memória é um lume pelo qual se observa o ritual nos ofícios, sobretudo a manutenção de valores e modelos. A gravura em metal, que se iniciou no âmbito da ourivesaria, deve à esta atividade a origem de seu cabedal de procedimentos, e que compreende princípios de  engenhosidade guiados pela ética. Numa situação muito particular dentre as artes visuais, a literatura técnica da calcogravura revela orientações associadas à conduta moral, por onde a finalidade excede a mera operação. Entre os séculos XII e XX, destacam-se virtudes distintas ao longo do desenvolvimento deste gênero. O presente estudo busca iluminar esta fonte de instrução por meio desta prerrogativa e compreender seu desenvolvimento até o contexto brasileiro do século XX.  Como resultado deste esforço, obteve-se um quadro panorâmico da orientação de conduta, por onde foi possível estabelecer uma análise comparativa de sua relação com a gênese desta tipologia, sobretudo para com os tratados de consulta em gabinetes.
Palavras-chave: tratados e manuais; gravura em metal; virtude profissional.


Abstract
Virtue and Craft
Notes of conduct  into the handbooks litterature of intaglio printmaking

The memory is a light to observes  the ritual in the craftwork. The intaglio technics who began in th goldsmithing, where the procedures are inherited from this manufacture, and which comprises the ingenious guided by religious ethic principles. In a very particular situation among the visual arts, the technical literature of intaglio reveals orientations associated with moral conduct, where the purpose exceeds the mere function. Between the eight centuries, distinct virtues stand out throughout the development of this literary genre. The present study wants to illuminate this source of instruction through this prerogative and understand its development up to the Brazilian context of the twentieth century As a result of this effort, a panoramic picture of the conduct orientation was obtained, through which it was possible to establish a comparative analysis of its relationship with the genesis of this typology.
Keywords: treaties and manuals, intaglio; professional virtue.

The exhibition “The 20:20 Print Exchange” took place in Moscow in August 2019, the most recent instalment of an international programme that has been coordinating an exchange of prints between international graphic artists for over a decade now. Russia first took part in the forum in 2018, and 20 artists from the Moscow Print Workshop participated in the new exhibition project, which brought together graphic works from 577 artists in all, representing some 41 studios. The variety of forms submitted – including woodcut, lithography, metal engraving, silk-screen printing and linocut – was matched by an intensive educational programme.