WeRead Powered by ReaderPub
Prints: A Brief Review of Their Technique and History cover

Prints: A Brief Review of Their Technique and History

Chapter 2: PREFACE
By Emil H. Richter
Open in WeRead

Explore more books like this:

ArtHistory - Other

About This Book

The text offers a concise, accessible introduction to printmaking techniques and history. It explains the principal methods—woodcut and wood-engraving, engraving, dry-point, mezzotint, etching, and lithography—and the presses used, then surveys the art’s development from early utilitarian block prints through Renaissance intaglio and woodcut traditions to later national schools across Europe and America. Illustrated examples and discussions of topics such as chiaroscuro, color printing, publishing practices, and nineteenth-century revivals accompany recommendations for further reading.

PREFACE

Prints have long been an undisturbed domain of the collector and scholarly connoisseur. Centuries of study and research are resulting in the identification and description of this vast amount of material. The literature on prints embodies these results in the form of handbooks, histories, catalogues for reference, essays, and specializing treatises. These are written primarily for the use of students and collectors, with the elaboration and detail requisite for this class of readers.

Manifestations of a widening interest are more evident every day. With this broadening popular interest has come a demand for a plain, short explanation of “prints.” In the absence of such a brief review and in answer to repeated inquiries, a series of lectures were prepared and delivered—some years ago—by the writer. These lectures are herewith offered, in slightly revised form, to those interested in the nature and development of prints.

This little book is not a compendium of the graphic arts, just an introduction. Brevity and simplicity have been aimed at, the purpose being to awaken interest and convey initial information conducive to further study.

The charm and value of a print lies essentially in the quality of line or tone peculiar to the process employed in its making. These cannot be rendered adequately by the half-tone illustrations which accompany these pages. The prints themselves must be seen to be truly appreciated and understood.