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.
Welcome to the enchanting world of "Old English Colour Prints" by Malcolm C. Salaman, where artistry meets history in vivid hues. Step into a journey through time as Salaman's meticulous curation brings to life the beauty and craftsmanship of centuries-old prints. Explore the exquisite collection of Old English Colour Prints meticulously compiled by Salaman, showcasing the rich tapestry of British artistry from bygone eras. From pastoral landscapes to bustling city scenes, each print is a testament to the mastery of technique and the timeless appeal of artistic expression. Salaman's insightful commentary illuminates the cultural and artistic significance of each print, offering readers a deeper understanding of the historical contexts and aesthetic innovations that shaped English printmaking. Through his expert analysis and engaging narrative, he invites readers to appreciate the intricate details and enduring charm of these masterpieces. Themes of nostalgia, craftsmanship, and the evolution of visual culture resonate throughout the collection, making it a compelling exploration for art enthusiasts and historians alike. Whether admiring the delicate brushstrokes of a countryside vista or the dynamic composition of an urban tableau, each print tells a story of England's artistic heritage. Since its publication, "Old English Colour Prints" has been celebrated for its scholarly rigor and visual splendor, captivating readers with its blend of art history and cultural insight. Its enduring appeal lies in its ability to transport readers to a world of beauty and refinement, where each print evokes a sense of wonder and appreciation. In conclusion, "Old English Colour Prints" is more than a collection—it's a window into a bygone era, where artistry flourished and creativity knew no bounds. Whether you're a connoisseur of art or simply drawn to the beauty of historical prints, this book promises to enrich your understanding and delight your senses. Don't miss your chance to experience the allure of "Old English Colour Prints" by Malcolm C. Salaman. Discover the beauty of British printmaking through the ages and immerse yourself in a visual journey that captivates the eye and inspires the soul. Grab your copy now and explore the timeless elegance of English artistry.
This richly illustrated publication reproduces and describes effectively every early modern German color print held at the British Museum. It is one of the world's most significant collections of these rare milestones of cultural heritage and technology. New photography reveals 150 impressions in jaw-dropping detail, most life-size. Some have never been seen in public or reproduced. It is the first major study of the first wave of German color printing. It spans medieval printing in the late 1400s through the Renaissance and Reformation of the 1500s. Early Colour Printing features masterpieces by leading figures like Erhard Ratdolt, Lucas Cranach, Hans Baldung Grien, and Hans Burgkmair, as well as unfairly overlooked entrepreneurs and innovators like Erasmus Loy (and his daughter Anna). Their breakthroughs reproduced artworks and simplified astronomical calculations. They created trends in interior design and signalled 'red-letter days'. They helped musicians sight-read and they color-coded metals for goldsmiths. These diverse new functions and markets might seem unrelated. But they are connected, and they cannot be understood in isolation. From artworks to missals, icons to wallpapers, this book breaks new ground by revealing the fascinating underlying technologies that enabled the production of these color-printed objects. The many inventions of color printing in the German-speaking lands began with medieval novel solutions. They were devised long before color printing inks could be formulated. Then, color printing techniques transformed how printed material could be used during the technological and cultural revolutions of the sixteenth century. Later designers and artists around Europe celebrated these techniques' heritage for centuries, from the 'D rer Renaissance' until chromolithography revolutionized the print market in the nineteenth century. Early Colour Printing captures this story in rich detail. It sets the stage for second wave of German color woodcut, which was triggered by the Expressionist revival at the turn of the twentieth century. Thoroughly researched and engagingly written, this collection guide will be a standard reference on German graphic art, early modern visual culture, and the history of printing itself. Early Colour Printing: German Renaissance Woodcuts at the British Museum offers significant new research, including previously unidentified examples of early modern color-printing. Some are believed to be unique in the world; others were made decades before the landmark invention of colorful chiaroscuro woodcut in Italy in 1516. By modeling a printer- and technology-based approach to the history of printing, it contributes to scholarship by pinpointing attributions to printers--not just to artists or designers. In doing so, it lays the groundwork for a new understanding of the history of print, one that encompasses all forms of printed material. This publication derives from an exhibition at the British Museum curated by Elizabeth Savage.
