000 05490nam a2200541 i 4500
001 BRILL9789004290112
003 nllekb
005 20260610105255.0
007 cr un uuuua
008 150618s2015 ne a sb 001 0 eng d
010 _a 2015017743
020 _a9789004290112
_q(electronic book)
020 _z9789004269682
_q(print)
024 7 _a10.1163/9789004290112
_2DOI
035 _a(OCoLC)912045294
_z(OCoLC)900179621
_z(OCoLC)930487256
040 _aNL-LeKB
_cNL-LeKB
_erda
043 _ae------
050 4 _aNE1850
_b.P75 2015
072 7 _aAGZ
_2bicssc
072 7 _aART028000
_2bisacsh
082 0 4 _a760.28
_223
245 0 0 _aPrinting colour 1400-1700 :
_bhistory, techniques, functions and receptions /
_cEdited by Ad Stijnman and Elizabeth Savage.
246 3 _aPrinting color 1400-1700
264 1 _aLeiden ;
_aBoston :
_bBrill,
_c[2015]
300 _a1 online resource (xxx, 248 pages) :
_billustrations (chiefly color)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_2rdacarrier
490 1 _aLibrary of the written word ;
_vv. 41
490 1 _aThe handpress world ;
_vv. 32
504 _aIncludes bibliographical references and index.
505 0 0 _tPreliminary Material /
_rAd Stijnman and Elizabeth Savage --
_tIntroduction: A Historical Overview of Printed Colour before 1700 /
_rAd Stijnman and Elizabeth Savage --
_tMaterials and Techniques for Early Colour Printing /
_rAd Stijnman and Elizabeth Savage --
_tColour Printing in Relief before c.1700: A Technical History /
_rElizabeth Savage --
_tColour Printing in Intaglio before c.1700: A Technical History /
_rAd Stijnman --
_tColour Stamping in the Late Fifteenth and Sixteenth Centuries: Technical Sources and Workshop Practice /
_rDoris Oltrogge --
_tThe Fust and Schöffer Office and the Printing of the Two-Colour Initials in the 1457 Mainz Psalter /
_rMayumi Ikeda --
_tColour-Printed Pasteprints, 1460s–1480s /
_rAndreas Uhr --
_tThe Birgittines of The Netherlands: Experimental Printers and Colourists /
_rKathryn M. Rudy --
_tA Printer’s Art: The Development and Influence of Colour Printmaking in the German Lands, c.1476–c.1600 /
_rElizabeth Savage --
_tHans Wechtlin and the Production of German Colour Woodcuts /
_rAlice Klein --
_tUgo da Carpi’s Diogenes /
_rNaoko Takahatake --
_tThe Chiaroscuro Woodcut Printmaking of Ugo da Carpi, Antonio da Trento and Niccolò Vicentino: Technique in Relation to Artistic Style /
_rLinda Stiber Morenus --
_tA Technical Study of Sixteenth-Century Italian Chiaroscuro Woodcuts /
_rBeth A. Price , Nancy Ash , Haddon A. Dine , Shelley R. Langdale , Ken Sutherland , Lucia Burgio and Jo-Fan Huang --
_t‘Divine, August and Immortal’: The Potentials and Limitations of Colour Printing in the Low Countries, c.1555 /
_rEdward H. Wouk --
_tHendrick Goltzius’s Chiaroscuro Woodcuts Revisited /
_rMarjolein Leesberg --
_tDürer in Chiaroscuro: Early Modern Graphic Aesthetics and the Posthumous Production of Colour Prints /
_rAnja Grebe --
_tThe ‘Camaïeu’ Print in Seventeenth-Century Paris: On the Origins of Multi-tonal Printmaking in France /
_rAlexander Dencher --
_tOn Hercules Segers’s ‘Printed Paintings’ /
_rJun Nakamura --
_tOpus typo-chromaticum: The Colour Prints of Johannes Teyler /
_rSimon Turner --
_tColourful Topography: A Short-Lived Practice in Amsterdam Print Publishing around 1700 /
_rElmer Kolfin and Marrigje Rikken --
_tconclusion: Printing Colour After 1700: Jacob Christoff Le Blon and the Invention of Trichromatic Colour Printing, c.1710 /
_rAd Stijnman --
_tAppendix 1: Chronology: Developments in Colour Printing 1400-1700 /
_rAd Stijnman and Elizabeth Savage --
_tAppendix 2: Glossary /
_rAd Stijnman and Elizabeth Savage --
_tBibliography /
_rAd Stijnman and Elizabeth Savage --
_tIndex of Names /
_rAd Stijnman and Elizabeth Savage.
506 _aAvailable to subscribing member institutions only.
520 _aIn 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.
650 0 _aColor prints, European.
650 0 _aArt and society
_zEurope
_xHistory.
650 7 _aArt and society.
_2fast
650 7 _aColor prints, European.
_2fast
651 7 _aEurope.
_2fast
655 7 _aHistory.
_2fast
700 1 _aStijnman, Ad.
700 1 _aSavage, Elizabeth
_q(Lauren Elizabeth)
776 0 8 _iPrint version:
_tPrinting Colour 1400-1700: History, Techniques, Functions and Receptions
_dLeiden, Boston : BRILL, 2015,
_z9789004269682
830 0 _aLibrary of the Written Word
_v41.
830 0 _aEuropean History and Culture E-Books Online, Collection 2015-II, ISBN: 9789004287426.
856 4 _zDOI:
_uhttp://dx.doi.org/10.1163/9789004290112
999 _c30039
_d30039