Search results for "engraving"
showing 10 items of 21 documents
Woodcuts and Some Words: Edward Gordon Craig’s lasting impressions
2019
This article examines Edward Gordon Craig’s analogy between drama and wood engraving, stage and printed page in his autobiographical handbook on wood engraving, Woodcuts and Some Words (1924). Taking as a premise Craig’s interest in the world of print as materialization of his “new theatre”, it explores the semantic shift of the notion of impression from the symbolist realm of suggestion to that of modernist imprint. It finally seeks to determine the significance of engraving in Craig’s career, a medium that was the matrix, the relic and the archive of the images and of the ideal vision he pursued all his life.
El grabado de valència de la primera parte de la crónica de beuter. Su lectura en el contexto de las imágenes urbanas peninsulares impresas en torno …
2019
The engraving of València from the Primera parte de la crónica by Pere Antoni Beuter, originally published in 1546, is the first overview of the city as a whole. It includes a large number of constructions and features of València, configuring, in addition, the most characteristic point of view to represent the city: the northern. Its modernity has to be compared with other valencian and contemporary peninsular urban engravings. Its comparison with other images will help to understand better the meaning of such an important image for the city of València. El grabado de Valencia de la Primera parte de la crónica de Pere Antoni Beuter, publicado originariamente en 1546, constituye la primera …
Lines or Dots? Reproduction Processes in Handbooks on Illustration, 1890s-1910s
2016
International audience; This chapter examines the way that black and white illustrators came to terms with the industrial use of photomechanical processes and the major changes that occurred in the reproduction of illustrations from the 1890s to the early decades of the 20th century. It explores how handbooks on illustration and illustrators’ autobiographies reflected the need to preserve the so-called “vitality” of the graphic line, an autographic trace of the artist’s gesture. It focuses on the contemporary description and reception of half-tone, the screened process that breaks up tone into dots and that was used to reproduce wash, watercolour, and photographs. This process was often cri…
“‘Bosques distantes”: a matéria dos livros e a pastoral modernista“ (“‘Distant woods’: The matter of books and the modernist pastoral“)
2022
This paper is part of a broader project that aims to examine the importance of the materials used in the making of illustrated books from a medial and ecocritical perspective. I focus on a specific case study in which I explore the attitude to nature encapsulated in the use of and reference to wood in British interwar wood-engraved illustrated books. My departure point is the English artist Paul Nash’s Places (Heinemann, 1922), a short collection of prose poems and wood-engravings. An elegy produced at a time when Nash was trying to come to terms with the aftermath of the First World War, Places was published after he made the great war paintings depicting the human losses and the ecocide p…
Text, Image and Embroidery: Threads and Scratches
2013
Ce texte a pour point de départ l’analyse des rapports entre une nouvelle de A. S. Byatt et ses illustrations, et s’attache à définir les métaphores du fil et de la trace utilisées pour décrire textes, tissus et images gravées depuis l’introduction de l’imprimerie et des modes industriels de reproduction. Sa perspective interdisciplinaire prend en compte l’apport de penseurs du 19ème siècle tels que John Ruskin, ainsi que les recherches récentes dans les domaines des rapports entre image et texte, de la médiologie et de l’anthropologie sociale.
Couleur et transparence à l’ère des procédés photomécaniques
2015
This paper aims to show that the reception of British coloured illustrated books in the early twentieth-century reflects the artistic and aesthetic repositioning induced by the development of photomechanical process. Photomechanical reproduction freed the graphic line as well as colour. Reviews published at the turn of the century—as exemplified by The Studio—reveal a tension between opacity and transparency, materiality and lightness, chromophilia and chromophobia. These oppositions apply to the art of the book—as in the books illustrated by Arthur Rackham and Edmund Dulac—as well as to interior decoration. They are subsumed in the image of the peacock’s ocellus, the eyespot that symbolise…
Application de la photogrammétrie à la documentation de l’art rupestre, des chantiers de fouilles et du bâti
2017
During his archaeological missions the Museum of Prehistoric Anthropology tested the 3D modelling of several typesof objects. His team chose the ‘Structure-from-Motion’ (SfM) method which works according the basic principle of stereoscopicphotogrammetry, namely that 3D structure can be resolved from two or more overlapping, offset images. Most of other methodscapable of surveying, at high resolution, often complex objects and landforms are very expensive and have a difficult portability.Using only a consumer-grade digital camera and a scale on the ground, the user moves through the environment, acquiringphotographs of the area of interest from as many locations and perspectives as possible.…
“Autographic wood-engraving: Modernist DIY“
2017
International audience; This paper focuses on the description of modernist wood engraving as a humble form of art in the manuals published by John Farleigh, Clare Leighton and Iain Macnab between 1932 and 1940. As a specific form of artistic encounter with a medium, autographic wood engraving relied on the heritage of the Arts and Crafts’ ethics of making as well as on the modernist aesthetics of carving. This paper aims to show that the efficacy of humbleness as an artistic stance allowed wood engraving to straddle the provinces of art, craft and design at a time when the function of artistic skill and handmaking was being displaced.
Porte e finestre
2019
the contribution identifies and analyzes the success and operational repercussions in Sicilian architecture of the seventeenth and eighteenth centuries, of the models for doors and windows disseminated through the press. Some engravings have arrived in loose sheets, such as those attributed to the painter from Viterbo Tarquinio Ligustri. The success in Val di Noto of this almost unknown repertoire continued until the early eighteenth century, but it followed and developed at the same time as that of the models contained in the books by Sebastiano Serlio, Domenico Fontana and Vignola. Alongside the classic treatises of the sixteenth century and of the seventeenth century, the printing of eng…
Interfaces volume 39: "Gestures and their Traces"
2018
International audience; This, the first of two volumes featuring the topic of gestures, presents a selection of essays published in the wake of the Interfaces conference that was held at Université de Bourgogne (Dijon, France) in June 2017 (“Gestures in Texts and the Visual Arts”). Volumes 39 and 40 inaugurate a new phase in the publishing history of the journal as we are moving from print to digital publication.The present collection brings together contributions that encompass philosophical analysis, media archaeology and artistic experimentation with a bent for anthropology, art history and intermediality. They emphasize the reconstructive nature of critical and artistic enquiry when dea…