Printing colour 1400-1700 : history, techniques, functions and receptions
Art and society Color prints, European e-böcker History
Brill
2015
EISBN 9789004290112
Introduction: a historical overview of printed colour before 1700.
/ Ad Stijnman and Elizabeth Savage..
Part 1: an introduction to colour in printmaking 1400-1700 (1: Materials and Techniques for Early Colour Printing / Ad Stijnman and Elizabeth Savage.
2: Colour Printing in Relief before c.1700: A Technical History / Elizabeth Savage.
3: Colour Printing in Intaglio before c.1700: A Technical History / Ad Stijnman)..
Part 2: the advent of colour printing, C.1400-1500 (4: Colour Stamping in the Late Fifteenth and Sixteenth Centuries: Technical Sources and Workshop Practice / Doris Oltrogge.
5: The Fust and Schöffer Office and the Printing of the Two-Colour Initials in the 1457 Mainz Psalter / Mayumi Ikeda.
6: Colour-Printed Pasteprints, 1460s-1480s / Andreas Uhr.
7: The Birgittines of The Netherlands: Experimental Printers and Colourists / Kathryn M. Rudy)..
Part 3: the renaissance in colour, C.1476-1600 (8: A Printer's Art: The Development and Influence of Colour Printmaking in the German Lands, c.1476-c.1600 / Elizabeth Savage.
9: Hans Wechtlin and the Production of German Colour Woodcuts / Alice Klein.
10: Ugo da Carpi's Diogenes / Naoko Takahatake.
11: The Chiaroscuro Woodcut Printmaking of Ugo da Carpi, Niccolò Vicentino and Antonio da Trento: Technique in Relation to Artistic Style / Linda Stiber Morenus.
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.
13: 'Divine, August and Immortal': The Potentials and Limitations of Colour Printing in the Low Countries, c.1555 / Edward H. Wouk).
Part 4: vivid mannerism, c.1588-1650 (14: Hendrick Goltzius's Chiaroscuro Woodcuts Revisited / Marjolein Leesberg.
15: Dürer in Chiaroscuro: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints / Anja Grebe.
16: The 'Camaïeu' Print in Seventeenth-Century Paris: On the Origins of Multi-tonal Printmaking in France / Alexander Dencher)..
Part 5: product innovation and commercial enterprise, c.1620 -1700 (17: On Hercules Segers's 'Printed Paintings' / Jun Nakamura.
18: Opus typo-chromaticum: The Colour Prints of Johannes Teyler / Simon Turner.
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
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.
/ Ad Stijnman and Elizabeth Savage..
Part 1: an introduction to colour in printmaking 1400-1700 (1: Materials and Techniques for Early Colour Printing / Ad Stijnman and Elizabeth Savage.
2: Colour Printing in Relief before c.1700: A Technical History / Elizabeth Savage.
3: Colour Printing in Intaglio before c.1700: A Technical History / Ad Stijnman)..
Part 2: the advent of colour printing, C.1400-1500 (4: Colour Stamping in the Late Fifteenth and Sixteenth Centuries: Technical Sources and Workshop Practice / Doris Oltrogge.
5: The Fust and Schöffer Office and the Printing of the Two-Colour Initials in the 1457 Mainz Psalter / Mayumi Ikeda.
6: Colour-Printed Pasteprints, 1460s-1480s / Andreas Uhr.
7: The Birgittines of The Netherlands: Experimental Printers and Colourists / Kathryn M. Rudy)..
Part 3: the renaissance in colour, C.1476-1600 (8: A Printer's Art: The Development and Influence of Colour Printmaking in the German Lands, c.1476-c.1600 / Elizabeth Savage.
9: Hans Wechtlin and the Production of German Colour Woodcuts / Alice Klein.
10: Ugo da Carpi's Diogenes / Naoko Takahatake.
11: The Chiaroscuro Woodcut Printmaking of Ugo da Carpi, Niccolò Vicentino and Antonio da Trento: Technique in Relation to Artistic Style / Linda Stiber Morenus.
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.
13: 'Divine, August and Immortal': The Potentials and Limitations of Colour Printing in the Low Countries, c.1555 / Edward H. Wouk).
Part 4: vivid mannerism, c.1588-1650 (14: Hendrick Goltzius's Chiaroscuro Woodcuts Revisited / Marjolein Leesberg.
15: Dürer in Chiaroscuro: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints / Anja Grebe.
16: The 'Camaïeu' Print in Seventeenth-Century Paris: On the Origins of Multi-tonal Printmaking in France / Alexander Dencher)..
Part 5: product innovation and commercial enterprise, c.1620 -1700 (17: On Hercules Segers's 'Printed Paintings' / Jun Nakamura.
18: Opus typo-chromaticum: The Colour Prints of Johannes Teyler / Simon Turner.
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
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.
