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Art --- prints [visual works] --- women [female humans] --- Oud Testament

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Islam --- book review --- Turken --- Turks costuum --- moslim --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699

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An old master print with colour is almost invariably regarded as a suspect object because the colour is presumed to be a cosmetic addition made to compensate for deficiencies of design or condition. This work challenges this deeply entrenched assumption about the material and aesthetic structure of old master prints by showing that in many cases hand colouring is not a dubious supplement to a print but is instead an integral element augmenting its expressive power, beauty and meaning. Published in conjunction with with an exhibition at the Baltimore Museum of Art and St. Louis Art Museum, "Painted Prints" reproduces and discusses a rich variety of hand-coloured prints from Northern Europe of the Renaissance and Baroque periods. Anonymous woodcuts are juxtaposed with masterworks by such famed artists as Dürer, Holbein and Goltzius. These prints, secular as well as religious, muted as well as vibrant in tonality, make it clear that hand colouring was a widespread, enduring practice, developed to satisfy the demands of both elite and popular audiences. "Painted Prints" presents research into the men and women who specialized in hand colouring and offers numerous insights into the social and economic organization of Renaissance and Baroque printmaking. It also draws on scientific analyses of the materials and techniques of hand colouring to address important questions of authenticity, chronology and condition.

color [perceived attribute] --- Art --- Graphic arts --- color prints [prints] --- coloring [process] --- anno 1600-1699 --- anno 1500-1599 --- Europe: North --- Prints, European --- Prints, Renaissance --- Prints, Baroque --- Prints --- Estampe européenne --- Estampe de la Renaissance --- Estampe baroque --- Estampe --- Exhibitions. --- Exhibitions --- Coloring --- Expositions --- Coloration --- grafiek --- etsen (prenten) --- gravures --- houtsneden --- renaissance --- barok --- Vlaanderen --- Duitsland --- Nederlanden --- 76 "14" --- 76 "15" --- 76 "16" --- 76.02 --- 76.017.4 --- Grafische kunsten. Grafiek. Prentkunst--15e eeuw. Periode 1400-1499 --- Grafische kunsten. Grafiek. Prentkunst--16e eeuw. Periode 1500-1599 --- Grafische kunsten. Grafiek. Prentkunst--17e eeuw. Periode 1600-1699 --- Technieken van de grafische kunsten --- Grafische kunsten. Grafiek. Prentkunst--Kleur --- 76.017.4 Grafische kunsten. Grafiek. Prentkunst--Kleur --- 76.02 Technieken van de grafische kunsten --- 76 "16" Grafische kunsten. Grafiek. Prentkunst--17e eeuw. Periode 1600-1699 --- 76 "15" Grafische kunsten. Grafiek. Prentkunst--16e eeuw. Periode 1500-1599 --- 76 "14" Grafische kunsten. Grafiek. Prentkunst--15e eeuw. Periode 1400-1499 --- Estampe européenne --- prints [visual works] --- Fine prints --- European prints --- Baroque prints --- houtsnede --- renaissance (historisch tijdvak, doorheen de 16e eeuw) --- gravure --- Vlaanderen. --- Duitsland. --- Nederlanden.

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An unusual collaboration among distinguished art historians and historians of science, this book demonstrates how printmakers of the Northern Renaissance, far from merely illustrating the ideas of others, contributed to scientific investigations of their time. Hans Holbein, for instance, worked with cosmographers and instrument makers on some of the earliest sundial manuals published; Albrecht Dürer produced the first printed maps of the constellations, which astronomers copied for over a century; and Hendrick Goltzius's depiction of the muscle-bound Hercules served as a study aid for students of anatomy. Prints and the Pursuit of Knowledge in Early Modern Europe features fascinating reproductions of woodcuts, engravings, and etchings; maps, globe gores, and globes; multilayered anatomical "flap" prints; and paper scientific instruments used for observation and measurement. Among the "do-it-yourself" paper instruments were sundials and astrolabes, and the book incorporates a facsimile of globe gores for the reader to cut out and assemble.

Renaissance --- Graphic arts --- animal art --- geometry --- anatomy --- botany --- Rhinocerotidae [family] --- scientific instruments --- History of civilization --- astronomy --- Art --- Dürer, Albrecht --- anno 1500-1599 --- Europe --- Prints, European --- Prints, Renaissance --- Art and science --- Knowledge, Sociology of --- Intellectual life --- 76 "15" --- 76 <4> "15" --- 76:655.5 --- Grafische kunsten. Grafiek. Prentkunst--16e eeuw. Periode 1500-1599 --- Grafische kunsten. Grafiek. Prentkunst--Europa--16e eeuw. Periode 1500-1599 --- Grafische kunsten. Grafiek. Prentkunst-:-Geïllustreerde boeken (boekillustraties) --- Exhibitions --- 76:655.5 Grafische kunsten. Grafiek. Prentkunst-:-Geïllustreerde boeken (boekillustraties) --- 76 <4> "15" Grafische kunsten. Grafiek. Prentkunst--Europa--16e eeuw. Periode 1500-1599 --- 76 "15" Grafische kunsten. Grafiek. Prentkunst--16e eeuw. Periode 1500-1599 --- Science --- Zoomorphology. Zooanatomy --- Phytomorphology. Phytoanatomy --- Geometry --- prints [visual works] --- Prints --- European prints --- Knowledge, Theory of (Sociology) --- Sociology of knowledge --- Communication --- Knowledge, Theory of --- Public opinion --- Sociology --- Social epistemology --- Council of Europe countries --- Eastern Hemisphere --- Eurasia --- Prints, European - 16th century - Exhibitions --- Prints, Renaissance - Exhibitions --- Art and science - Exhibitions --- Knowledge, Sociology of - Exhibitions --- Europe - Intellectual life - 16th century - Exhibitions --- geschiedenis van de wetenschappen

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The first comprehensive overview of Jasper Johns's work in an innovative medium that the artist has singlehandedly redefined over the course of four decades Jasper Johns (b. 1930) is arguably the most important living American artist, and his work is central to any history of postwar art. With extensive new scholarship based on original research and interviews with the artist, Jasper Johns: Catalogue Raisonné of the Monotypes provides the definitive account of his groundbreaking work in an intrinsically subversive medium situated between painting, drawing, and printmaking. Susan Dackerman and Jennifer L. Roberts examine Johns's innovative use of the printing press to create alterity, overturning monotype's century-old reputation for expressive subjectivity.

Johns, Jasper,