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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.

Book history --- color prints [prints] --- Graphics industry --- color printing --- anno 1400-1499 --- anno 1600-1699 --- anno 1500-1599 --- Color prints --- Art and society --- Estampe en couleurs --- Art et société --- History --- History. --- Histoire --- 76.017.4 --- 76 "14/16" --- 655.3.024 --- Grafische kunsten. Grafiek. Prentkunst--Kleur --- Grafische kunsten. Grafiek. Prentkunst--15e-17e eeuw. Periode 1400-1699 --- Colour printing --- 76.017.4 Grafische kunsten. Grafiek. Prentkunst--Kleur --- Color prints, European --- Art et société --- Color prints, European. --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects

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Suzanne Karr Schmidt's Interactive and Sculptural Printmaking in the Renaissance tells the story of a hands-on genre of prints: how innovative paper engineering redefined the relationship of early modern viewers to art, humanism, and science. Interactive and sculptural prints pervaded the European reading market of the sixteenth and seventeenth centuries. Single sheets and book illustrations featured movable flaps and dials, and functioned as kits to build three-dimensional scientific instruments. These hybrid constructions—part text, part image, and part sculpture—engaged readers; so did the polemical, satirical, and, occasionally, erotic content. By manipulating dials and flaps, or building and using the instruments, viewers learned to think through images as well as words, interacting visually with desires, social critique, and knowledge itself.

76 "14" --- 76 "15/17" --- 745.54 --- 82.085.43 --- 82.085.43 Literaire receptie --- Literaire receptie --- 745.54 Kunstvoorwerpen van papier. Papierkunst --- Kunstvoorwerpen van papier. Papierkunst --- 76 "15/17" Grafische kunsten. Grafiek. Prentkunst--Moderne Tijd --- Grafische kunsten. Grafiek. Prentkunst--Moderne Tijd --- 76 "14" Grafische kunsten. Grafiek. Prentkunst--15e eeuw. Periode 1400-1499 --- Grafische kunsten. Grafiek. Prentkunst--15e eeuw. Periode 1400-1499 --- Prints, Renaissance --- Interactive prints --- Estampe de la Renaissance --- printmaking --- Graphic arts --- illustrations [layout features] --- prints [visual works] --- anno 1400-1499 --- anno 1500-1599 --- Europe --- Prints, European --- Art and society --- Art --- Themes, motives. --- History --- Aspect social --- Estampe de la Renaissance. --- Art and sociology --- Society and art --- Sociology and art --- Sculptural prints --- Prints --- Toy and movable books --- European prints --- Social aspects