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Printing Colour 1400-1700
History, Techniques, Functions and Receptions
ä¸ç¼ï¼- Library of the Written Word, å·ï¼ 41
- Library of the Written Word - The Handpress World, å·ï¼ 41
In Printing Colour 1400â1700, 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/âkeyâ, now CMYK), it demonstrates that colour prints were not rare outliers, but essential components of many early modern book, print and visual cultures.
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/âkeyâ, now CMYK), it demonstrates that colour prints were not rare outliers, but essential components of many early modern book, print and visual cultures.
Ad Stijnman PhD (Amsterdam) FRHistS, is a researcher on historical printmaking materials and processes at the Rijksmuseum, Amsterdam. He has published monographs and numerous articles on the practical aspects of historical printing and printmaking techniques, including Engraving and Etching 1400-2000 (Archetype 2012).
Elizabeth Savage PhD (Cambridge), is a 2015-18 British Academy Postdoctoral Fellow at The John Rylands Research Institute, University of Manchester. Her research into early modern colour printing techniques has won two international awards and been published in leading journals.
Elizabeth Savage PhD (Cambridge), is a 2015-18 British Academy Postdoctoral Fellow at The John Rylands Research Institute, University of Manchester. Her research into early modern colour printing techniques has won two international awards and been published in leading journals.
âa major advance in our knowledge of the production of prints.â
Roger Gaskell, Ffawyddog, Crickhowell. In: The Library, 7.17.4 (December 2016), pp. 453-461.
âThis magnificently illustrated volume contains nineteen studies on various aspects of early color printing in Western Europe. [â¦] Undoubtedly, Printing Colour will become an indispensable reference for our understanding of early color printing.â
Pablo Alvarez, University of Michigan. In: Renaissance Quarterly, Vol. 71, No. 4 (Winter 2018), pp. 1453-1455.
âEvery essay is amply supported by images and, as is only to be expected from Brill, the publisher of the Handpress World series, and the printer, Drukkerij Wilco B.V. of Amersfoort, the superb quality of the figures, not least in the matter of colour accuracy, meets the high demands of this much-needed book.â
Timothy Wilks, Southampton Solent University. In: Journal of the Printing Historical Society, New Series 25 (Winter 2016), pp. 92-93.
Roger Gaskell, Ffawyddog, Crickhowell. In: The Library, 7.17.4 (December 2016), pp. 453-461.
âThis magnificently illustrated volume contains nineteen studies on various aspects of early color printing in Western Europe. [â¦] Undoubtedly, Printing Colour will become an indispensable reference for our understanding of early color printing.â
Pablo Alvarez, University of Michigan. In: Renaissance Quarterly, Vol. 71, No. 4 (Winter 2018), pp. 1453-1455.
âEvery essay is amply supported by images and, as is only to be expected from Brill, the publisher of the Handpress World series, and the printer, Drukkerij Wilco B.V. of Amersfoort, the superb quality of the figures, not least in the matter of colour accuracy, meets the high demands of this much-needed book.â
Timothy Wilks, Southampton Solent University. In: Journal of the Printing Historical Society, New Series 25 (Winter 2016), pp. 92-93.
LIST OF ILLUSTRATIONS
FOREWORD - Ad Stijnman and Elizabeth Savage
PREFACE: THE PROBLEM OF PRINTING IN COLOUR - Peter Parshall
ACKNOWLEDGEMENTS
LIST OF ABBREVIATIONS
LIST OF CONTRIBUTORS
INTRODUCTION: A HISTORICAL OVERVIEW OF PRINTED COLOUR BEFORE 1700 - Ad Stijnman and Elizabeth Savage
SECTION 1: AN INTRODUCTION TO COLOUR IN PRINTMAKING 1400â1700
Chapter 1: Materials and Techniques for Early Colour Printing - Ad Stijnman and Elizabeth Savage
Chapter 2: Colour Printing in Relief before c.1700: A Technical History - Elizabeth Savage
Chapter 3: Colour Printing in Intaglio before c.1700: A Technical History - Ad Stijnman
SECTION 2: THE ADVENT OF COLOUR PRINTING, C.1400â1500
Chapter 4: Colour Stamping in the Late Fifteenth and Sixteenth Centuries: Technical Sources and Workshop Practice - Doris Oltrogge
Chapter 5: The Fust and Schöffer Office and the Printing of the Two-Colour Initials in the 1457 Mainz Psalter- Mayumi Ikeda
Chapter 6: Colour-Printed Pasteprints, 1460sâ1480s - Andreas Uhr
Chapter 7: The Birgittines of The Netherlands: Experimental Printers and Colourists - Kathryn M. Rudy
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SECTION 3: THE RENAISSANCE IN COLOUR, C.1476â1600
Chapter 8: A Printerâs Art: The Development and Influence of Colour Printmaking in the German Lands, c.1476âc.1600 - Elizabeth Savage
Chapter 9: Hans Wechtlin and the Production of German Colour Woodcuts - Alice Klein
Chapter 10: Ugo da Carpiâs Diogenes - Naoko Takahatake
Chapter 11: The Chiaroscuro Woodcut Printmaking of Ugo da Carpi, Niccolò Vicentino and Antonio da Trento: Technique in Relation to Artistic Style - Linda Stiber Morenus
Chapter 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
Chapter 13: âDivine, August and Immortalâ: The Potentials and Limitations of Colour Printing in the Low Countries, c.1555 - Edward H. Wouk
SECTION 4: VIVID MANNERISM, C.1588â1650
Chapter 14: Hendrick Goltziusâs Chiaroscuro Woodcuts Revisited- Marjolein Leesberg
Chapter 15: Dürer in Chiaroscuro: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints - Anja Grebe
Chapter 16: The âCamaïeuâ Print in Seventeenth-Century Paris: On the Origins of Multi-tonal Printmaking in France - Alexander Dencher
SECTION 5: PRODUCT INNOVATION AND COMMERCIAL ENTERPRISE, C.1620 â1700
Chapter 17: On Hercules Segersâs âPrinted Paintingsâ - Jun Nakamura
Chapter 18: Opus typo-chromaticum: The Colour Prints of Johannes Teyler - Simon Turner
Chapter 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
INDEX
FOREWORD - Ad Stijnman and Elizabeth Savage
PREFACE: THE PROBLEM OF PRINTING IN COLOUR - Peter Parshall
ACKNOWLEDGEMENTS
LIST OF ABBREVIATIONS
LIST OF CONTRIBUTORS
INTRODUCTION: A HISTORICAL OVERVIEW OF PRINTED COLOUR BEFORE 1700 - Ad Stijnman and Elizabeth Savage
SECTION 1: AN INTRODUCTION TO COLOUR IN PRINTMAKING 1400â1700
Chapter 1: Materials and Techniques for Early Colour Printing - Ad Stijnman and Elizabeth Savage
Chapter 2: Colour Printing in Relief before c.1700: A Technical History - Elizabeth Savage
Chapter 3: Colour Printing in Intaglio before c.1700: A Technical History - Ad Stijnman
SECTION 2: THE ADVENT OF COLOUR PRINTING, C.1400â1500
Chapter 4: Colour Stamping in the Late Fifteenth and Sixteenth Centuries: Technical Sources and Workshop Practice - Doris Oltrogge
Chapter 5: The Fust and Schöffer Office and the Printing of the Two-Colour Initials in the 1457 Mainz Psalter- Mayumi Ikeda
Chapter 6: Colour-Printed Pasteprints, 1460sâ1480s - Andreas Uhr
Chapter 7: The Birgittines of The Netherlands: Experimental Printers and Colourists - Kathryn M. Rudy
â
SECTION 3: THE RENAISSANCE IN COLOUR, C.1476â1600
Chapter 8: A Printerâs Art: The Development and Influence of Colour Printmaking in the German Lands, c.1476âc.1600 - Elizabeth Savage
Chapter 9: Hans Wechtlin and the Production of German Colour Woodcuts - Alice Klein
Chapter 10: Ugo da Carpiâs Diogenes - Naoko Takahatake
Chapter 11: The Chiaroscuro Woodcut Printmaking of Ugo da Carpi, Niccolò Vicentino and Antonio da Trento: Technique in Relation to Artistic Style - Linda Stiber Morenus
Chapter 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
Chapter 13: âDivine, August and Immortalâ: The Potentials and Limitations of Colour Printing in the Low Countries, c.1555 - Edward H. Wouk
SECTION 4: VIVID MANNERISM, C.1588â1650
Chapter 14: Hendrick Goltziusâs Chiaroscuro Woodcuts Revisited- Marjolein Leesberg
Chapter 15: Dürer in Chiaroscuro: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints - Anja Grebe
Chapter 16: The âCamaïeuâ Print in Seventeenth-Century Paris: On the Origins of Multi-tonal Printmaking in France - Alexander Dencher
SECTION 5: PRODUCT INNOVATION AND COMMERCIAL ENTERPRISE, C.1620 â1700
Chapter 17: On Hercules Segersâs âPrinted Paintingsâ - Jun Nakamura
Chapter 18: Opus typo-chromaticum: The Colour Prints of Johannes Teyler - Simon Turner
Chapter 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
INDEX
All interested in late medieval/renaissance art, graphic art, the history of the book, bibliography, the cultural history of colour, the development of Art History and Bibliography, and conserving works on paper.