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Editorial Reviews
From Publishers Weekly
While teaching the history of the print, Hults felt constrained by the lack of a scholarly chronological introduction to the matter. Her solution: the creation of this well-organized, exhaustively researched volume, which may well become a bible in its field. Her subject isn't limited to technical aspects of printed media (woodcuts, etching, engraving, drypoint, aqua- and mezzotints, lithographs, silk-screens, etc.). She also examines the cultural and economic forces behind each medium as it developed, the personal goals of individual artists and cultural events influencing their times. From Christian souvenirs at early pilgrim sites to Communist agitprop; from prints made for renaissance patrons to mass editions marketed to the middle and lower classes of the industrial age, Hults treats (and illustrates) them all. The book is meticulously annotated and indexed and incorporates commentary from other art historians. Female artists and writers are also given their due. Beyond the overwhelming scholarship, this is a work to be read. Hults's prose has a clarity, rhythm and range of shading that complement the prints she describes. This could ultimately be its greatest blessing for readers in the subject.
Copyright 1996 Reed Business Information, Inc.
From School Library Journal
YA?A wonderful resource. This scholarly work covers the four basic types of printmaking and characteristics of prints as works of art; readers can follow the course of printmaking from Durer, through Goya, Hogarth, and Daumier, to name just a few. A comprehensive overview of art history is also gleaned through the relationship of printmaking to the other media. It is obvious that the reproductions were selected with great variety and clarity in mind. Providing information and insight in one volume, the prose is succinct without being tedious. An attention-getting Mary Cassatt cover captures the lyrical qualities and eloquence of printmaking. This precise art form is finally getting the attention from the public that it deserves, and this book advances that process.?Arlene Hoebel, W. T. Woodson High School, Fairfax, VA
Copyright 1996 Reed Business Information, Inc.
See all Editorial Reviews
While teaching the history of the print, Hults felt constrained by the lack of a scholarly chronological introduction to the matter. Her solution: the creation of this well-organized, exhaustively researched volume, which may well become a bible in its field. Her subject isn't limited to technical aspects of printed media (woodcuts, etching, engraving, drypoint, aqua- and mezzotints, lithographs, silk-screens, etc.). She also examines the cultural and economic forces behind each medium as it developed, the personal goals of individual artists and cultural events influencing their times. From Christian souvenirs at early pilgrim sites to Communist agitprop; from prints made for renaissance patrons to mass editions marketed to the middle and lower classes of the industrial age, Hults treats (and illustrates) them all. The book is meticulously annotated and indexed and incorporates commentary from other art historians. Female artists and writers are also given their due. Beyond the overwhelming scholarship, this is a work to be read. Hults's prose has a clarity, rhythm and range of shading that complement the prints she describes. This could ultimately be its greatest blessing for readers in the subject.
Copyright 1996 Reed Business Information, Inc.
From School Library Journal
YA?A wonderful resource. This scholarly work covers the four basic types of printmaking and characteristics of prints as works of art; readers can follow the course of printmaking from Durer, through Goya, Hogarth, and Daumier, to name just a few. A comprehensive overview of art history is also gleaned through the relationship of printmaking to the other media. It is obvious that the reproductions were selected with great variety and clarity in mind. Providing information and insight in one volume, the prose is succinct without being tedious. An attention-getting Mary Cassatt cover captures the lyrical qualities and eloquence of printmaking. This precise art form is finally getting the attention from the public that it deserves, and this book advances that process.?Arlene Hoebel, W. T. Woodson High School, Fairfax, VA
Copyright 1996 Reed Business Information, Inc.
See all Editorial Reviews
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover
Citations
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4
books
cite this book:
- Fecal Matters in Early Modern Literature and Art: Studies in Scatology (Studies in European Cultural Transition) by Jeff Persels in Back Matter
- The Artists Illustrated Encyclopedia: Techniques, Materials and Terms by Phil Metzger on page 473
- The Rise of the Image: Essays on the History of the Illustrated Art Book (Reinterpreting Classicism) by Rodney Palmer in Front Matter
- Childbirth And The Display Of Authority In Early Modern France (Women and Gender in the Early Modern World) by Lianne McTavish in Back Matter
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