Wood Engraving

Ілля. Хрещення ефіопського євнуха (кат. 39, фрагмент). 1638 Вибіркові гравюри Ілюстрованої Біблії (1645-1649) репродуковані та розглянуті у книзі Д. Степовика Київська Біблія XVII століття. 8 У Румунії видання яської друкарні, ілюстровані Іллею, описані у відомому каталозі XIX cт. І. Біану та Н. Ходоша. 9 У 1982 р. Д. Морареску припустив, на підставі помилкових атрибуцій, що Ілля дебютував як гравер у Києві в 1630-х р., прибув тут у супроводі Петра Могили і був молдованином за походженням. 10 Проте підписні та датовані тво ри Іллі свідчать, що він почав працювати у 1637 р. у Львові і до 1640 р. у виданнях Печерського монастиря його гравюр немає. Ф. Дудаш грунтов но вивчив ілюстроване Іллею видання Carte de învățătură (Учи тельне Євангеліє) (1643), популярне на теренах Тран сильванії. Він також ввів у нау ковий обіг велику підписну гравюру Іллі панегіричного змісту на честь господаря Василе Лупу та його родини, що збереглася в єдиному дефектному примірнику. 11 Каталог українських кириличних видань XVI-XVIII cт. Т. Камєнєвої, О. Гусєвої та І. Полонської містить переважну більшість творів Іллі. 12 Вагомим науковим внеском є зазначене у цьому каталозі первісне використання гравюри та її передруки у пізніших виданнях. На жаль, наступні томи серії із стародруками XVIII ст. не були завершені. Окремі розвідки присвячено надрукованим у Печерському монастирі, й, напевно ілюстрованим Іллею, латинським та польським панегірикам, уні кальні примірники яких зберігаються в бібліотеках України, Польщі та Росії, а також великоформатним гравюрам Іллі для антимінсів, рідкісні примірники яких знаходяться в колекції Національного музею у Львові. 13

Early printed books of hours are distinguished by their extensive border schemes, executed in text and images, which have hitherto scarcely been studied. They are, however, integral components of these prayerbooks, and offer insights to their readers into complex interconnections of salvation history. In the following reflections it is argued that the prints can only be understood when all of their component parts are considered together in their interplay. If this is undertaken systematically, they can provide insights into the practice of prayer in their age.

Henry Holiday to Lewis Carroll's "The Hunting of the Snark" (1876, final chapter The Vanishing) and "The Image Breakers" (1566?) by Marcus Gheeraerts the Elder. In my viaw, both images are related to violence: Destruction of heretics and iconoclastic destruction of religious symbols.

2015-04-18: Pictorial quotes of shapes from the source image already can be seen in Holiday's drawing for the illustration to chapter 8 in Carroll's Snark.

2015-04-19: Only lay-out changes.

The book publishes the acts of a colloque held in 2008 about the influence of serial models, as engravings or plaquettes, on art in Lombardy in Mantegna's age. Scholars and curators of museums show very different examples of influences in very different kinds of artistic techniques.

48 Traditionally the iconostasis of the church of St Paraskeva P'iatnytsia and St Paraskeva Petka has been dated to the end of the sixteenth-beginning of the seventeenth century. See M. Holubets', Начерк історії українського мистецтва. I, L'viv, 1922, p. 207-8 and Aleksandrovych (note 34), p. 66. But it is known that the church was later renewed at the expense of the Voivode Vasile Lupu. See P. Panaitescu, 'Fundațiuni religioase romănești în Galiția', Buletinul comisiunii monumentelor istorice, XXII, 59 (1929), p. 9. On the external wall of the church there survives a memorial tablet with the coat of arms of Vasile Lupu and the initials [Iω B. B. Б. М. Г. Z. М.] (Іо Василе воєвода Божою милістю господар землі Молдавської). 49 Bianu, Hodoș (note 9), p. 156, 50. 50 Dudaș (note 11), p. 163-66.

In celebration of the 500th anniversary of Armenian Printing, 1512-2012, the Bibliothèque Mazarine of the French Academy hosted a major exhibition of a selection of early printed Armenian books dating before 1800 from its own rich collection, which together with that of the Bibliothèque nationale de France have the richest holdings of early Armenian prints in France.  The exhibit was supplemented from holdings in the special collection of the Bibliothèque universitaire des langues et civilisations (BULAC), and a private Paris collection.  This, the second of two groups of descriptive notices, includes  eleven publications from sections III. Imprimeries d’Orient & V. Livres d’orientalistes.

В статье впервые дается общий обзор ботанической иллюстрации в русских рукописях XVI–XVIII вв.
Это, с одной стороны, переводы европейских энциклопедических естественнонаучных сочинений —
Gaerde der Suntheit Иоганна фон Кубе и Liber de arte distillandi Иеронима Бруншвига, и с другой
стороны — “народные” травники XVIII в., в которых представлен “наивный” вариант ботанической
иллюстрации.
This article provides the first general overview of the botanical illustrations in Russian manuscripts between the
sixteenth and eighteenth centuries. On the one hand, these are the translations of the European encyclopaedical
works in natural sciences, such as Johann von Cube’s Gaerde der Suntheit and Hieronymus Brunschwig's Liber
de arte distillandi. On the other hand, there are “folk” herbals of the eighteenth century that represent a “naive”
version of botanical illustrations.

The Italian language anarchist periodical Cronaca Sovversiva (1903-1919), circulated throughout the Atlantic world and played a vital role in the construction of a transnational social movement across the widespread Italian emigrant labor diaspora. The artistic choices of the newspaper’s primary printmaker, Carlo Abate, were important in creating a revolutionary hagiography that supported the propaganda tactics of the newspaper’s editor, Luigi Galleani. Abate’s wood engravings are involved in larger debates about the presence of the human hand in print-art. In a manner consistent with the artisanal working-class values of Italian anarchists and through the use of lines, shading, and composition, Abate’s visual rhetoric stressed the hand of the artist and thus the labor of production. It provides a noteworthy example of how the transnational circulation of anarchist print culture contributed simultaneously to the formation of a diasporic revolutionary identity and to debates about the role of the artist in an age of mechanical reproduction.

Resumen
Se analiza la situación actual de los estudios sobre el grabado hispano del siglo XV, centrándose en la bibliografía publicada desde mediados del siglo XIX. Por un lado, se detectan algunas lagunas y carencias de las que adolecen los estudios existentes y, por otro, se plantean posibles vías para un mejor conocimiento de esta producción artística en los años finales de la Baja Edad Media.
Palabras clave: Grabado medieval; Estampa medieval; Incunable; Siglo XV.

Abstract
This article analyses the current state of studies of fifteenth-century Spanish engravings, focusing on bibliography published since the middle of the nineteenth century. On the one hand, it reveals gaps and shortcomings in existing studies; and, on the other, it suggests possible ways to archieve a fuller appreciation of thes artistic product of the final years of the Late Middle Ages.
Keywords: Medieval engraving; Incunabula; 15th Century.

In celebration of the 500th anniversary of Armenian Printing, 1512-2012, the Bibliothèque Mazarine of the French Academy hosted a major exhibition of a selection of early printed Armenian books dating before 1800 from its own rich collection, which together with that of the Bibliothèque nationale de France have the richest holdings of early Armenian prints in France.  The exhibit was supplemented from holdings in the special collection of the Bibliothèque universitaire des langues et civilisations (BULAC), and a private Paris collection.  This, the first of two groups of descriptive notices, included six publications from sections I. Venise & II. d’Amsterdam à Marseille.

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It's nonsense, but within that, Lewis Carroll's logic in this example strictly follows the logic of Edward Lear's nonsense. This is about the "Banker's" face after his encounter with the Bandersnatch in the chapter "The Banker's Fate" in Lewis Carroll's, Henry Holiday's and Joseph Swain's "The Hunting of the Snark" (1876). As for the Banker and his face, you find a textual allusion to Edward Lear as well as pictorial allusions to William Sidney Mount and Marcus Gheeraerts the Elder. --- See also https://www.academia.edu/10103262/Noseflip_animation_ and https://www.academia.edu/9964379/Schnarkverschlimmbesserung --- 2015-01-21: The illustration also may have been inspired by Charles Darwin's "The Expression of the Emotions in Man and Animals", e.g. https://www.academia.edu/10287871/The_Expression_of_Emotions

2015-03-09: Removal of two obvious typing errors. No change of meaning.

2017-09-29: This is about the Banker's face. I just noticed that in some of my articles I called the "fit" in "The Hunting to the Snark" which uses that illustration "The Banker's Fate". Sorry, it is "The Banker's Tale".

This paper deals with the famous "Violons du roi" during the reign of Charles IX, king of France, from two different angles : a synthesis of what is knonw about them in this period, with some biographical lists, and the transcription and analysis of some documents and testimonies they left here and there during the Grand Tour of Charles IX and the queen mother Catherine de Médicis (15654-1566).

Special issue: Circulating photographs. Edited by Maria Antonella Pelizzari and Steffen Siegel

This article traces the circulation of photographs taken in Beijing in 1865 and 1866 by Georges Morache, a medical doctor stationed at the French legation. Including sights of the city, portraits and staged outdoor scenes depicting local trades, these pictures were disseminated from the mid-1870s in two directions simultaneously. While they were issued for about twenty-five years as wood- engraved reproductions in illustrated travel publications, they also circulated up until 2003 as prints and lantern slides within anthropological institutions. This article examines the diverse material and semiotic adaptations that these photo- graphs were subjected to along their twofold circulation. Not only verifying the mutability of photographic meaning, this case also highlights affinities between the concerns of institutionalised anthropology, popular education and illustrated travel publications in the late nineteenth century. Ultimately, the dynamic circu- lation of these photographs in the West fulfilled a popular desire to scrutinise Chinese people and culture – a desire that was contingent on the informal empire upheld by western powers in China since the Opium Wars.

A BIBLIOTECA DEMONSTRATIVA MARIA DA CONCEIÇÃO MOREIRA SALLES (Av. W3 Sul EQ 506/507) promove a exposição DOMINGO NO ZOO, da artista plástica EVA MARIA BOTÁR, aberta ao público em 15 DE JULHO. A mostra poderá ser visitada até 29 DE JULHO, no horário de funcionamento da Biblioteca: de 2ª a 6ª feira das 7h30 às 23h e aos sábados das 8h às 14h. No dia 18 (quinta-feira) a artista estará na Biblioteca para uma conversa das 15h às 17h. EVA MARIA BOTÁR é graduanda em Artes Plásticas na UnB. Participou de algumas exposições coletivas, sendo a última, Marcas Gravadas no Museu Vivo da Memória Candanga. A exposição de gravuras, DOMINGO NO ZOO, é resultado dos registros feitos no Zoológico de Brasília no período da seca pela manhã e final da tarde. " Neste passeio, bichos e paisagens, movimentos e climas nos captam a atenção. "

Díptico de mano de la muestra comisariada para el Ayuntamiento de Quintanar de la Orden (To) en la planta baja del Museo Casa de Piedra. En ella el visitante puede disfrutar de algunas de las obras del artista renacentista Alberto Durero (1471-1528) centradas principalmente en su visión de la vida de la Virgen en un momento crucial para la historia del cristianimo y la cultura occidental como es el siglo XVI. La muestra incluye sesenta piezas que abarcan desde el siglo XVI al XX entre estampas, libros y esculturas acompañadas de varios recursos audiovisuales que permiten al espectador entender los diferentes procesos de grabado existentes y la importancia de Durero en la renovación de los mismos.

A metà dell'Ottocento Londra è la capitale del mondo. Tra i fumi delle ciminiere e i riverberi del gas illuminante vengono gettate le basi della moderna società di massa e dei consumi. È in questo contesto che si impone la figura di Walter Crane , probabilmente il più importante illustratore per l'infanzia che l'Inghilterra abbia mai conosciuto. Vero fondatore del picture book, Crane è il primo ad attribuire ai volumi per bambini la dignità e il valore di oggetti d'arte, pensati come strumenti di educazione e considerati il mezzo per una profonda rivoluzione estetica e sociale. Scardinando il concetto ottocentesco di editoria per l'infanzia, Crane si distingue per l'impegno politico condiviso con l'amico William Morris (1834-1896), passione che si riflette nei molti ambiti di applicazione, dalla maiolica alla stampa, dalle carte da parati alla pittura, dalle arti decorative alla cartellonistica, dal mosaico alla decorazione in gesso, fino a una prolifica attività teorica tanto nel settore delle arti visive quanto nella politica.

A review of O'Sullivan's groundbreaking study of the Gérôme-trained painter, ardent Fenian, and Special Artist (Illustrated London News, etc.) both to the Mahdi-led insurrection in Anglo-Egypt and Sudan as well as to the Land Wars in Ireland. O'Sullivan's research revealed how O'Kelly assumed multiple identities in Ireland, France, and the US.

Over the course of the American Civil War, Harper’s Weekly illustrated newspaper frequently relied on photographic sources for its illustrated reporting. This included gruesome portraits of human suffering that spoke not only to the horrors of war, but also slavery’s violation of human rights. In these “news pictures” of abused enslaved persons, disabled soldiers, and other abject bodies, the effects of atrocity are painfully rendered by the wood engraving process. For example, in the case of sixteen year-old Martha Ann Banks, a young African American woman abused by her former enslaver, and whose image Harper’s published on July 28, 1866, the engraver would have had to carve into the woodblock in order for her scars to be registered as white highlights against her dark skin. In the context of Harper’s reporting, such images of human suffering are often intended less to illustrate a story of individual experience, than to provide meaningful evidence for the newspaper’s political arguments, and particularly to convince Northern readers that the Confederacy was barbarous and inhumane. In this paper I consider not only the ethics of Harper’s publication of Martha Ann’s image and other images of Civil War atrocity, but also the inherent violence of the wood engraving process itself. How can we consider the hand of the engraver in the representation of scars, missing limbs, and emaciated figures? And how can we, as art historians, analyze such violent images?

Iconoclasm in the German engravings in XVI century

The role of the religious images, mainly discussed, in the polemic between catholics and protestants, under the historic and theological point of view, has been reflected in some German engravings, representing iconoclasm scenes.
The iconoclastic riots were denounced in some woodcuts from 1522, in the catholic work Von dem grossen lutherischen narren by franciscan Thomas Murner, part of longer contentious with Luther.
The pamphlet, illustrated by Dürer’s pupil, Erhard Schön, shows the moderate position of the Luthern side, where the sacred images are seen as unarmed and subordinate to the man will.
Heinrich Vogtherr’s engravings, trained at the Augsburg school, belong to the most radical Zwingli iconoclasm. These prints recall the historic example of the Iconoclasm in the Old Testament and in that Byzantine in VIII century, led by authority.

Os clérigos estavam atentos ao efeito visual causado pelas imagens e por isso, os livros cristãos eram, muitas vezes, ilustrados com o intuito de não apenas ensinar e recordar a história sagrada, mas também de ajudar no processo de persuasão do leitor/espectador no medievo. Neste sentido, este paper tem como objetivo principal: analisar as gravuras como objetos inspiradores de práticas cristãs e de modelos de comportamento que eram relacionados à busca pela boa morte e pela salvação eterna. A fonte analisada é a primeira versão castelhana conhecida de um manual de bem morrer que surgiu no século XV e que possui onze estampas: a Arte de Bien Morir.

Against the backdrop of European Orientalism, nineteenth-century depictions of the so-called Holy Land were reproduced with various techniques ranging from woodcut to chromolithography and were distributed in various publication formats ranging from single sheets to encyclopedias. Comparing illustrated Christian and Jewish Bible editions issued in the 1830s and 1840s by the Leipzig publisher Baumgärtner, the paper shows that the European trade with stereotypes of printing blocks (so-called »Klischees«) could in some cases lead to an alignment of different national, religious and denominational pictorial traditions. However, as the framing of pictures changed when moved to a different context, new ways of reproduction and circulation also provided ample opportunities for distinction and differentiation. Both in the Bible editions and in the popular periodicals of the time, innovations in media technology were used to regulate and manipulate the perception of pictures, implying statements about aesthetic norms, national belonging and religious beliefs.