Forest resources are indispensable capital assets to the tribal. Since time immemorial they have been residing in the forest, cultivating within the forest, and collecting forest produces which are highly valued and often finding no substitution. Forest is not merely a resource to consume but rather a reflection of their life support system forming a crucial ingredient in shaping the socio-economic development. In times of risk or say tragedy of the common such as droughts, flood and natural calamities, forest resources have the enormous potentialities in sustaining the tribal livelihoods and daily survival needs. Tribal maintains the balance between extractions of forest resources at optimum level on need based not greed based and there is no wanton destruction of resources as reflected in the wisdom of resource management.
Prints and drawings have been keenly collected in Europe since at least the early sixteenth century. Relatively modest in price, they offered artists, amateurs and collectors of a systematic turn of mind the opportunity to put together holdings with a wide representation of different hands, schools and types of subject. Prints and drawings are traditionally treated separately, but their collecting is shown here to raise many interrelated issues. Employing a wide range of methodologies, the essays in this volume offer a number of innovative investigations into the collecting, perception, classication and display of works on paper.
Samuel Quiccheberg’s Inscriptiones, first published in Latin in 1565, is an ambitious effort to demonstrate the pragmatic value of curiosity cabinets, or Wunderkammern, to princely collectors in sixteenth-century Europe and, by so doing, inspire them to develop their own such collections. Quiccheberg shows how the assembly and display of physical objects offered nobles a powerful means to expand visual knowledge, allowing them to incorporate empirical and artisanal expertise into the realm of the written word. But in mapping out the collectability of the material world, Quiccheberg did far more than create a taxonomy. Rather, he demonstrated how organizing objects made their knowledge more accessible; how objects, when juxtaposed or grouped, could tell a story; and how such strategies could enhance the value of any single object. Quiccheberg’s descriptions of early modern collections provide both a point of origin for today’s museums and an implicit critique of their aims, asserting the fundamental research and scholarly value of collections: collections are to be used, not merely viewed. The First Treatise on Museums makes Quiccheberg’s now rare publication available in an English translation. Complementing the translation are a critical introduction by Mark A. Meadow and a preface by Bruce Robertson.
Step-by-step instructions and enlightening photos and diagrams thoroughly educate you on parchment and paper care; mattings, hinging and framing; storage; basic conservation procedures; and other relevant topics.
Cabinets of prints and drawings are found in the earliest art collections of Early Modern Europe. From the sixteenth century onwards, some of them acquired such fame that the necessity for an ordered and scientific display meant that a dedicated keeper was occasionally employed to ensure that fellow enthusiasts, as well as visiting diplomats, courtiers and artists, might have access to the print room. Often collected and displayed together with drawings, the prints formed a substantial part of princely collections which sometimes achieved astounding longevity as a specialised group of collectibles, such as the Florentine Gabinetto Disegni e Stampe at the Uffizi (GDSU). Prints and drawings, both bought and commissioned, were collected by princes and by private amateurs. Like the rest of their collections, the prints and drawings were usually preserved and displayed as part of, or near, the owner’s library in close proximity to scientific instruments, cut gems or small sculptural works of art. Both prints and drawings not only documented an encyclopaedic approach to the knowledge available at the time, but also depicted parts of the collections in the form of a paper museum. Prints and drawings also served as a guide to the collections. They spread their fame, and the renown of their owners, across Europe and into new worlds of collecting, both East and West. This volume explores issues such as: when, how and why did cabinets of prints and drawings become a specialised part of princely and private collections? How important were collections of prints and drawings for the self-representation of a prince or connoisseur among specialists and social peers? Is the presentation of a picture hanging in a gallery, for example by Charles Eisen for the Royal Galleries at Dresden, to be treated as documentary evidence? Are there notable differences in the approach to collecting, presentation and preservation of prints and drawings in diverse parts of the world? What was the afterlife of such collections up to the present day?
The prints and drawings of Vincent van Gogh (1853-90) include some of the world's best-known, most popular, and most valuable pieces. This volume is a catalog of van Gogh drawings and prints that are currently under the care of the Kröller-Müller Museum, located near the village of Otterlo in the Netherlands. Catalogued for the first time in 1917, these works have undergone four different editions of the cataloguing process by four different members of the museum staff since World War II alone, and always in the company of van Gogh's more famous paintings. Now, for the first time, the drawings have been studied independently, and the information gathered here presents a remarkably clear overview of the present scholarship and art historical research on the authenticity, dating, provenance, and exhibitions of the work. Differing in many ways from the last collection catalog of van Gogh's drawings and paintings (which was published nearly thirty years ago), this volume not only produces new information on the provenance of certain works, but frequently comes up with a sharper analysis of the techniques and materials used by the artist, as well as new dates for individual drawings. Doubts that have arisen about the authenticity of certain juvenilia by van Gogh are here provided with a well-reasoned foundation, and with the publication of this edition--which complements a 2003 catalog of van Gogh's paintings--a period of intensive research on van Gogh's works in the collection has been brought to a close, culminating in this impeccably researched catalog and its accompanying wealth of full-color images.
Prints and drawings have been keenly collected in Europe since at least the early sixteenth century. Relatively modest in price, they offered artists, amateurs and collectors of a systematic turn of mind the opportunity to put together holdings with a wide representation of different hands, schools and types of subject. Prints and drawings are traditionally treated separately, but their collecting is shown here to raise many interrelated issues. Employing a wide range of methodologies, the essays in this volume offer a number of innovative investigations into the collecting, perception, classication and display of works on paper.
For the prospective buyer, the world of printmaking can be overwhelming. Intaglio, lithography, aquatint and sugarlift--even the terms used have the potential to confuse. Helen Rosslyn, a prints and drawings specialist and Director of the London Original Print Fair, provides her expert insider advice in this straight-talking guide. She explains the techniques used by today's printmakers, accompanied by a brief history of printmaking. A comprehensive glossary elucidates printmaking terms, including the newer language of digital printmaking. Rosslyn answers the commonly asked questions to help the reader navigate this often mysterious world. There are tips and expert advice from artists, print dealers, paper conservators, picture framers and art handlers, alongside reproductions of some of the finest prints from the collection of the Royal Academy of Arts, making this book the perfect companion for anyone interested in buying or collecting prints, whether old master or contemporary.
These fabulous, whimsical paintings, created for his own pleasure and never shown to the public, show Geisel (a.k.a. Dr. Seuss) in a whole new light. Depicting outlandish creatures in otherworldly settings, the paintings use a dazzling rainbow of hues not seen in the primary-color palette of his books for children, and exhibit a sophisticated and often quite unrestrained side of the artist. 65 color illustrations.
This is a guide to all the forms of graphic art available on today's market. Part one explains the different printing techniques; part two, on prints, is arranged according to subject matter; and part three looks at poster art from the 19th and 20th centuries, including cinema and pop posters.
