A landmark publication that catalogues the history and development of the printed image Gutenberg’s invention of moveable type made it possible to print letters. But images could only be printed using two other technologies that were developed alongside letterpress. One depended on wooden blocks which were cut and printed in relief, the other on copper plates into which lines were cut by engraving or etching and were printed on a rolling press.Copper-plate printmaking developed into a huge business employing thousands of people, and dominated image production for nearly four centuries across the whole of Europe.Its processes remained very stable, and a man of 1500 could have walked into a printing shop of 1800 and understood what was going on. During the nineteenth century this world was displaced by new technologies, of which photography was by far the most important.
Author: Dennis Duncan
Publisher: Oxford University Press, USA
Release Date: 2019-06-27
Book Parts tells the histories of the parts of a book that are not the main text: chapter heads, page numbers, introductions, indexes . . . Each of these elements emerged at a certain time and developed in a particular way. The book is arranged into twenty two chapters, covering topics from front matter (title page, frontispiece, etc.) to back (errata list, endleaves, etc.), and each written by an expert on the subject but with an emphasis on lightness,so that its presentation is authoritative but not ponderous.
Portable Prose: The Novel and the Everyday explores issues related to objecthood, the everyday, and portability within the novel. The scope of this wide-ranging collection includes nineteenth- and twentieth-century fiction, contemporary postmodern literature and science fiction, as well as broader theories of the novel and the nature of reading.
Author: Larry Silver
Publisher: Getty Publications
Release Date: 2019-08-27
A critical rethinking of the way canons are defined, constructed, dismantled, and revised. A century ago, all art was evaluated through the lens of European classicism and its tradition. This volume explores and questions the foundations of the European canon, offers a critical rethinking of ancient and classical art, and interrogates the canons of cultures and regions that have often been left at the margins of art history. It underscores the historical and geographical diversity of canons and the local values underlying them. Twelve international scholars consider how canons are constructed and contested, focusing on the relationship between canonical objects and the value systems that shape their hierarchies. Deploying an array of methodologies—including archaeological investigations, visual analysis, and literary critique—the authors examine canon formation throughout the world, including Africa, India, East Asia, Mesoamerica, South America, ancient Egypt, classical Greece, and Europe. Global studies of art, which are dismantling the traditionally Eurocentric canon, promise to make art history more inclusive. But enduring canons cannot be dismissed. This volume raises new questions about the importance of canons—including those from outside Europe—for the wider discipline of art history.