Printing Colour 1700-1830
Oxford University Press (Verlag)
978-0-19-726753-0 (ISBN)
Printing Colour 1700-1830 offers a broad-ranging examination of the rich period of invention, experimentation and creativity surrounding colour printing in Europe between two critically important developments, four-colour separation printing around 1710, and chromolithography around 1830. Its 28 field-defining contributions, by 26 leading experts, expand the corpus far beyond the beautiful, already well-studied images produced in European hubs like London and Paris. The chapters unveil the explosive growth in the production and marketing of colour prints at this pivotal moment. They address the numerous scientific and technological advances that fed the burgeoning popularity for such diverse colour-printed consumer goods as clothing, textiles, wallpapers, and ceramics. They recontextualise the rise in colour-printed paper currencies, book endpapers and typography, and ephemera, including lottery tickets and advertisements. This landmark volume launches colour printing of the long 18th century as an interdisciplinary field of study, opening new avenues for research across historical and scientific fields.
Dr Elizabeth Savage FSA FRHistS is Senior Lecturer in Book History and Communications, School of Advanced Study, and Head of Academic Research Engagement, Senate House Library, University of London. In 2020-22, she was an Honorary Fellow at Centre for the Study of the Book, Bodleian Libraries, Oxford University. In 2022-23, she was a Fellow at Linda Hall Library. Her research into pre-industrial European printing techniques, especially for colour, has won awards including the Schulman and Bullard Article Prize. Her latest book is Early Colour Printing: German Renaissance Woodcuts at the British Museum, and she co-edited Printing Colour 1400-1700. She regularly curates and contributes to exhibitions about print heritage, for example at the British Museum and Musée du Louvre. She teaches at London Rare Books School. Dr Margaret Morgan Grasselli worked for forty years at the National Gallery of Art in Washington, thirty as Curator of Old Master Drawings. Having retired in 2020, she then served as Visiting Lecturer in the department of History of Art and Architecture of the Faculty of Arts and Sciences at Harvard University (2020-2022) and Visiting Senior Scholar for Drawings at the Harvard Art Museums (2020-2023). An expert on French drawings, she is also an authority on French colour prints of the 18th century. She organised the 2003 exhibition at the National Gallery of Art, Colorful Impressions: The Printing Revolution in Eighteenth-Century France, and was the editor and primary author of the accompanying catalogue.
Introduction
Part I: Materials and Techniques Printing Colour in 18th-Century Europe
Tools, Machines, and Presswork for Printing Colour in 18th-Century Europe
Colour Printing Inks and Colour Inking in 18th-Century Europe
Part II Relief Techniques: Letterpress, and Colour Woodcut
Colour Letterpress in Europe in the Long 18th Century
Elisha Kirkall and his Proposals for Printing in Chiaroscuro, Natural Colours and Tints, 1720-1740
Printing Chiaroscuro and Colour Woodcuts in Paris, Venice, and London c.1725-70
Bringing Colour to Books and Objects with Decorated Paper in the Long 18th Century
Colour for Commerce: Letterpress-Printed Ephemera in Britain, 1700-1830
Part III Mezzotint and Trichromatic Printing
The Politics of Process Mezzotint: Jacob Christoff Le Blon's Reputation, 1700-89
From Colour Theory to Colour Practice: Printmakers in Pursuit of the Ideal Pigments in 18th-Century Europe
Colouring the Body: Printed Colour in Medical Treatises during the Long Eighteenth Century
Colour Printing in Late 18th-Century Italy: Édouard and Louis Dagoty, 1770-1800
Part IV Chalk, Pastel and Watercolour Manner, and Aquatint
Printed Paintings and Engraved Drawings: Technical Innovations in Colour Printing in 18th-Century France
Coloured Prints in Imitation of Old Master Drawings in 18th-Century Italy: Anton Maria Zanetti the Elder, Benigno Bossi, Francesco Rosaspina and their Contemporaries
François-Philippe Charpentier and the Development of Aquatint in France in the 1760s
A Voyage pittoresque in Norway through Colour Prints, 1789-c.1815
The Market for Colour Prints in Paris at the End of the 18th Century
Multiple-Plate Colour Prints and the Problems of Variant Impressions, Missing Plates, and Disappearing Inks
Part V Stipple and a la Poupée
English Colour-Printed Stipple Engravings, 1774-1800
Between Painting and Graphic Arts: Colour Printmaking in Russia, 1750s-1800s
Anne Allen, Jean Pillement, and the Development of à la poupée Printing in France
The Contribution of à la poupée-inked Colour Printing to Natural History Illustration in France, 1800-1870
Part VI Consumer Goods and Expanding Markets for Colour Printing
Anatomy to Embroidery: Intaglio Colour-Printed Illustrations in European Books and Periodicals, 1700-1850
Early Dye-Patterned Colour on Calico in Europe, 1600-1840
Printed Wallpaper in England in the Long Eighteenth Century
Colour Printing on English Ceramics, 1751-70
Part VII Technical Experimentation and Industrialisation
William Blake's Colour Printing: Methods and Materials
Innovation and Tradition in Early 19th-Century Colour Printing
The Beginnings of Commercial Colour Printing in Europe, 1835-1840
| Erscheinungsdatum | 10.04.2025 |
|---|---|
| Reihe/Serie | Proceedings of the British Academy ; 263 |
| Zusatzinfo | Over 350 colour illustrations |
| Sprache | englisch |
| Maße | 215 x 185 mm |
| Gewicht | 1783 g |
| Themenwelt | Kunst / Musik / Theater ► Kunstgeschichte / Kunststile |
| Kunst / Musik / Theater ► Malerei / Plastik | |
| Geisteswissenschaften | |
| Sozialwissenschaften | |
| ISBN-10 | 0-19-726753-X / 019726753X |
| ISBN-13 | 978-0-19-726753-0 / 9780197267530 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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