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The significance of the media and communications revolution occasioned by printmaking was profound. Less a part of the standard narrative of printmaking's significance is recognition of the frequency with which the widespread dissemination of printed works also occurred beyond the borders of Europe and consideration of the impact of this broader movement of printed objects. Within a decade of the invention of the printing press, European prints began to move globally. Over the course of the fifteenth to the eighteenth centuries, numerous prints produced in Europe traveled to areas as varied as Turkey, India, Persia, Ethiopia, China, Japan and the Americas, where they were taken by missionaries, artists, travelers, merchants and diplomats. This collection of essays explores the transmission of knowledge, both written and visual, between Europe and the rest of the world by means of prints in the Early Modern period.

Prints --- History. --- Technique --- Fine prints --- Graphic arts --- Prints, Cross-cultural Exchange, Early Modern.

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Clergyman, schoolmaster and writer on aesthetics, William Gilpin (1724-1804) is best known for his works on the picturesque. His approach as a teacher was enlightened: during his time as headmaster of Cheam School, his aim was to prepare his pupils for life. Moving in 1777 to become vicar of Boldre, Hampshire, where he remained for the rest of his life, he was able to endow two schools there with income from his successful writings. This knowledgeable appraisal of the print as an art form, and of its foremost practitioners, was first published anonymously in 1768 to positive reviews. It defines picturesque as 'a term expressive of that peculiar kind of beauty, which is agreeable in a picture'. Gilpin further developed and explored the concept in his volumes of Observations on various parts of Britain, which are also reissued in this series.

Engraving --- Prints --- Engravers --- Collectors and collecting --- Fine prints --- Graphic arts --- Copper engraving --- Engravings --- Line-engraving --- Siderography --- Steel-engraving --- Etching --- Metal engravers --- Artists --- Printmakers

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prentkunst --- Book history --- Graphic arts --- illustrations [layout features] --- boekillustraties --- 76 <09> --- 76.02 --- Prints --- -Fine prints --- Geschiedenis van de grafische kunsten --- Technieken van de grafische kunsten --- History --- History. --- -Geschiedenis van de grafische kunsten --- 76.02 Technieken van de grafische kunsten --- 76 <09> Geschiedenis van de grafische kunsten --- -76.02 Technieken van de grafische kunsten --- Fine prints --- prints [visual works]

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76 <01> --- Printmakers --- -Print makers --- Artists --- 76 <01> Grafische kunsten. Grafiek. Prentkunst--Bibliografieën. Catalogi --- Grafische kunsten. Grafiek. Prentkunst--Bibliografieën. Catalogi --- Bibliography --- -Grafische kunsten. Grafiek. Prentkunst--Bibliografieën. Catalogi --- Prints --- Fine prints --- Graphic arts --- Print makers

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"Sanctioned by France's Royal Academy of Painting and Sculpture and struck primarily in order to disseminate the works of the Academy's members, the eighteenth-century fine art print flourished only briefly. Yet it set into motion the interdependence of graphic and pictorial media. In The Rise and Fall of the Fine Art Print in Eighteenth-Century France, W. McAllister Johnson distills a lifetime of research into an essential study of this seminal phenomenon and chronicles the issues, decisions, and practicalities inherent in making copperplate engravings as articles of art and commerce. His exceptional erudition makes this an unparalleled resource for the study of visual culture and of all aspects of printmaking before the French Revolution."--

76 <44> "17" --- Prints --- 76 <44> "17" Grafische kunsten. Grafiek. Prentkunst--Frankrijk--18e eeuw. Periode 1700-1799 --- Grafische kunsten. Grafiek. Prentkunst--Frankrijk--18e eeuw. Periode 1700-1799 --- Fine prints --- Graphic arts --- History --- Book history --- anno 1700-1799 --- France