Two Collections

Jean-Françoise-Charles-André Flachéron, Count Frédéric Flachéron, was born in 1813 in Lyons, France. Trained as a painter and sculptor, in 1839 he moved to Rome after winning the second Grand Prix de Rome. Between 1848 and 1853 Flachéron systematically photographed the great architectural monuments of Rome and its environs using a variant of Henry Talbot's paper negative process, the calotype. To date, approximately 155 negatives by Flachéron are known to have survived; the Harrison D. Horblit Collection of Early Photography at the Houghton Library at Harvard University contains 37. The examination and analysis of this important group of paper negatives became the focus in a Conservation Treatment Grant jointly sponsored by the Getty Grant Program and the Department of Printing and Graphic Arts, Houghton Library. Of primary interest in the study was the identification and interpretation of coatings found on the Flachéron negatives, during which several methods of analysis were employed.

Journal Article Reviews Get access ANNE ANNINGER, Spanish and Portuguese 16th Century Books in the Department of Printing and Graphic Arts [in the Houghton Library]: A description of an exhibition and a bibliographical catalogue of the collection. Harvard College Library, Cambridge, Massachusetts, 1985. x + 95 pp. $15.00. D. W. CRUICKSHANK D. W. CRUICKSHANK Dublin Search for other works by this author on: Oxford Academic Google Scholar The Library, Volume s6-VIII, Issue 2, June 1986, Pages 174–176, https://doi.org/10.1093/library/s6-VIII.2.174 Published: 01 June 1986

Previous articleNext article No AccessReviews Ferdinando Ongania 1842–1911: Editore in Venezia: Catalogo. Edited by Mariachiara Mazzariol; with an essay by Neil Harris. Venice: Lineadacqua, Fondazione Querini Stampalia Onlus, 2011. Pp. xxxii+327. €300.00 (cloth).Caroline Duroselle-MelishCaroline Duroselle-MelishDepartment of Printing and Graphic Arts, Houghton Library, Harvard University Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Library Quarterly Volume 83, Number 1January 2013 Article DOIhttps://doi.org/10.1086/668581 Views: 33Total views on this site For permission to reuse, please contact [email protected]PDF download Crossref reports no articles citing this article.

In the late 20th Century filled with fin-de-siecle mood, the new theatre centered around the UK has emerged. It was coined In-Yer-Face Theatre which breaks with conventional theatrical codes to confront the vulgar and the shocking. Up to the present, researches on art have generally been carried out through sociology, psychology and the history of art. Especially, the research on the social and cultural relations between the artists and their art works and the interrelation between the art works and other systems focuses on sociological approach. Therefore, the results are concentrated on the social meaning and significance of the new art form. However, it is a different matter that a work has the social and political implication and has the artistic value. Thus, this research will examine the characteristics of In-Yer-Face Theatre through the aesthetic categories. In-Yer-Face Theatre is in accord with as a main aesthetic subject. As the properties of ugliness, unsuitability, imperfection, and flaw are revealed through characters dialogues and behaviors on stage. In addition, unpleasure, another characteristic of ugliness, appears in the reaction of the audience to real violences and sexual behaviors during the performance. Furthermore, disorder which is the most important attribution of ugliness is related to the formal characteristic of in-yer-face theatre: its dramaturgy which rejects the well-made-play. As a result, the playwrights of in-yer-face theatre use intentionally ugliness as a new tool in order to reveal and criticize the ugliness in real world. They insult the reality which dehumanizes people, human beings which have not changed in the situation, and such circumstances by using unmentionable and frank expressions. That is, in-yer-face theatre is the product of strong consciousness leading to a change.

This introduction presents the volume’s objectives in the context of recent developments in—and longstanding omissions from—the fields of art, book and print history. It surveys the current state of scholarship and describes the new contributions made by each of the 28 chapters. Some present new methodologies for reassessing colour in the long 18th century, for example through heritage science. Others present newly discovered, or unjustly overlooked, colour prints, tools for colour printing and archival records. It explains how they expand the corpus from a limited number of fine prints and celebrated scientific images to millions of colour-printed objects, from ladies’ muffs to polemical pottery. It also contextualises how many were able to newly identify producers and audiences, especially women. Finally, it explains how the contributions redefine the corpus of colour printing and offer new avenues for future scholarship in the long 18th century in Europe, including Scandinavia and Russia, as well as some areas under colonial control.

The study of architecture in Canada focuses on biographical and aesthetic categories. Early 20th-century scholars adopted systematic methods from art history in order to celebrate outstanding architects, to describe and classify monuments, and, to some degree, to promote knowledge of traditional vernacular buildings. In recent decades, new scholars have sought to expand these methods by incorporating approaches from geography, material culture, folklore studies, and critical theory. In both eras, scholars have studied the built environment in order to distinguish the Canadian built environment from its colonial past (under Britain and France), and from that of its much larger neighbor, the United States. Despite some overlap between the old and the new approaches, there is an abiding tension between scholars who look to understand buildings and cities as aesthetic achievements, wherein progress is classified as a succession of stylistic changes, and those who wish to use buildings as a source for writing a broader social history connected to everyday economic and political life. In addition, much scholarship on buildings has been generated to accompany exhibitions. In such cases, the texts aim both to communicate to nonacademic readers and to entertain visitors to the exhibition. An emphasis on the products and personages of a male-dominated profession means that our understanding of women’s contributions to the built environment is limited. Likewise, indigenous architecture receives attention as archaeological prehistory and as contemporary architecture, but almost no attention is given to indigenous buildings produced between 1700 and today. In addition, there is surprisingly little systematic study of architecture’s role in environmental history. There are few analyses of the structures associated with Canada’s resource industries: mining, fisheries, forestry, and, more recently, the tar sands. Finally, there are few examples of the reliable and robust scholarly monographs or articles on singular celebrated architects and buildings readily available for other nations. Chronologically, a logical first division concerns the federation of the Canadian provinces of New Brunswick, Nova Scotia, Upper Canada, and Lower Canada into the Dominion of Canada in 1867, and the completion of a national railway in 1886. Confederation is also a convenient starting place for the issue of modernism, and, subsequently, it is possible to tie the development of Canadian architecture to urbanization and industrialization. A second inflexion point historians invoke often is 1967, marked by both a flurry of federally funded civic projects and the world exhibition in Montreal, Expo 67. One important conception of Canada is that it is an agglomeration of diverse regions, so that a study of architecture in Canada would necessarily include a balanced account of all regions. This regionalism is accentuated by the existence of a French-speaking province with a strong collective identity. Yet even as scholars insist that Canada is decentralized and characterized by its regions and peripheries, their studies to date have overwhelmingly emphasized Ontario, Quebec, and the Maritimes, leaving scant scholarship on the West Coast, the Prairies, and the Arctic.

Handwritten and early printed books of the Cyrillic tradition are an independent type of sources due to the peculiarities of their creation and existence. Information recorded in main texts, convoys, records, decor, and external design can provide a specialist with the most interesting information not only from the history of culture, but also from the socio-political and economic life of society, which is not reflected in documentary sources or significantly supplements and corrects them. The article shows how the source analysis of book artefacts works in reconstructing the history of printed book production of the Old Believers of the Bespopovtsy denomination of the late 19th — early 20th centuries, associated with the name of the Vyatka book publisher L. A. Grebnev. Analysis of a wide range of publications from four printing houses enabled to formulate several conclusions. However, the complex patterns of relationships between publishers revealed during this analysis and successive nature of typographic materials force some of the proposed interpretations of events to be considered as hypotheses with varying degrees of argumentation, which require continued research with additional identification of publications and their examination. The close relationships between printing houses significantly complicates the attribution of their products. Such work requires a comprehensive analysis of fonts, decor and taking into account the history of book printing, which poses the most important task for specialists: the creation of reference literature that facilitates the attribution of Old Believer publications of the second half of the 19th — early 20th centuries, but this must be preceded by a difficult period of source study work.

INES JERELE National and University Library Turja ka 1, 1000 Ljubljana, Slovenia E-mail: ines.jerele@nuk.uni-lj.si In the 16th century, printed book becomes a unique designed art work. There is almost no distinction of printed elements in books from the beginning of the 16th century and ones printed in the incunabula period as the thinking about book production was still under the influence of the manuscript tradition. But throughout the 16th century and especially at the end of it, the basic thinking about books changed. The modified role of books in High Renaissance and Mannerism could be seen as a consequence of social and technical changes in society on the one hand and as a reason for the newly born and formatting reading culture on the other. Mass production was at that point primarily introduced to the Western World. In spite of all transformation that our society has been gone through in these past five centuries, some of the basic elements of printed books, which were acknowledged already in the period under study, are still used not only in printed media, but also in other accompanying production. There was a research made on books printed till 1600. Inserted graphic works which are all illustrations, secondary decoration and initials, were analyzed. All books embraced by the research are kept in two Slovenian libraries. However, as Slovenia had almost no printing production of its own in the 16th century, the picture we get from the research can be regarded as an overview of printing production in Renaissance Europe.

Parshall, Peter, and Rainer Schoch, eds. Origins of European Printmaking: Fifteenth-Century Woodcuts and Their Public. New Haven: Yale University Press, 2005. Pp. 372 (9 ½ x 12 inches). 150 ill in color; 20 b/w. This beautifully illustrated book examines the evolution of early printmaking in late-medieval Europe. Woodcut prints are explored in a broad social and economic context, as the means of their production and their utility for massdissemination are investigated. The book is essential for art historians, students, and collectors, as well as for the general reader. In Woodcuts and the Reception of the Primitive the editors discuss printing from woodblocks in central Europe (southern Germany) by the second quarter of the fifteenth century (after the method had been practiced in Asia for centuries). Now, a large number of people were able to possess images, one generation before Johannes Gutenberg's printing from moveable type. Therefore, Origins of European Printmakingtreats mosdy German evidence. The two basic media of relief prints were woodcuts and metal cuts (engraving); by 1470 woodcuts were used for illustrating printed books, and engraving included a high percentage of profane subjects, in color. Actually, Gutenberg was preceded by the Haarlem printer Jan Laurens Coster (c. 1370c. 1440?). A well-known published inventory of 3,200 prints was assembled later between 1515 and 1525 by Ferdinand Columbus (son of the explorer), who traveled about Europe and acquired woodcuts ; he was an encyclopedist wanting to own (indiscriminately) as many pictures as possible, mostly allegories and satires (3). While some scholars believe that printmaking traveled from Italy to the North, the Chinese had printed from woodblocks many centuries earlier. Serious research on the history of printing did not begin until the mid-eighteenth century, with the three- volume study of Jean-Michel Papillon (1766), who revived the legendary story about the Cunio twins of Ravenna, believed to have been inventors of woodcuts in the late thirteenth century. The earliest formal analysis of a fifteenth-c. relief print was done by Franz Krismer, a librarian, and printed in Christoph von Murr's Journal (1776 - p. 5). Early woodcuts were qualitatively dismissed, however, until the nineteenth century, when the idea to establish the images' history emerged as a part of cultural patrimony in Germany. After the revolutions of 1848, early woodcuts became artifacts of pre-industrial society, a characterization lasting until the modern atavistic engagement with the primitive. It seems as if a connection is seen nowadays relating woodcuts (and the first printed books) directly to modern high-speed presses and mass-media, including photomechanical processes (such as those used for the Elustrated London News and the Leipzig Illustrierte Leitung). In modern times, William Morris and his pre-Raphaelite friends turned to pre-Albrecht Durer woodcuts and the suppression of perspective. To imitate the art of the medieval book, certain techniques had to be relearned and type-fronts created on the basis of Gothic prototypes. In France, a similar development took place before 1890: see the symbolist magazine L 'Ymagier (Remy de Gourmont and Alfred Jarry) . The distinction between high and popular art was abolished, and anachronism as well as discontinuity were espoused by this anti-modernism (7-8). In 1912, an important manifesto of German expressionism appeared: Der blaue Reiter (Wassily Kandinsky and Franz Marc). Dialogues began between Paul Cezanne, Henri Rousseau, Henri Matisse, Picasso, Delaunay, Paul Klee, Emil Nolde, and Max Pechstein. The editors of the Blaue Reiter called for a spiritual renewal, and artists turned to religious subjects after the first World War; later, the National Socialists rejected all primitivism as being degenerate, and welcomed Neo-Classicism (until 1945). Finally, Paul Vogt exhibited Expressionism: A German Institution in 1980 at New York's Guggenheim Museum. …

The Danish Research Council has provided funding for a new international network, Research network for curatorial studies, (ca. 1 million dkr.) for a two-year period. The network is based at University of Copenhagen with principal leaders Malene Vest Hansen, Ph.D. in Art History, Department of Arts and Cultural Studies, and Anne Folke Henningsen, Ph.D. in History, the Saxo Institute. The following is a short introduction to the background for and the objectives of the network.

OCTOBER 138, Fall 2011, pp. 15–36. © 2011 October Magazine, Ltd. and Massachusetts Institute of Technology. Each morning, as I walk to my office on the campus of Stanford University, I find my path crossed by the shadow of the Hoover Institution on War, Revolution and Peace. This is not a metaphor. Founded in 1919, the university’s residential think tank sits yards away from the Department of Art and Art History, its famous tower looming vertiginously over the humanist proceedings down below. The Hoover is so close to the art building, in fact, that one can glimpse the movements of its various fellows—among them, Condoleezza Rice and George Shultz—while holding forth on matters of aesthetics and politics in the seminar room. The workaday proximity to this think tank never fails to startle: its collective influence has shaped public policy for decades, providing Cold War analyses of the Gulag and the nuclear arms race, position papers on the liberalizing of markets, and media dispatches on the “War on Terror.” But other adjacencies are equally as startling. For what has always struck artists and art historians mining the archives of the Hoover is its astonishingly modernist source material, including, to take just a few examples, letters between Leon Trotsky and Frida Kahlo, rich supplies of Soviet broadsides, and photographs by Tina Modotti. These documents draw a decidedly mixed audience in the reading room, a place where artist-veterans of 1968 sit cheek-by-jowl with Reagan-era functionaries. While this description is meant to dramatize a disquieting tension between the institutional culture of the think tank and its artistic holdings, it is also meant to introduce the topic of the think tank’s modernist

ABSTRACTThis article presents an educational approach that merges ideas of critical pedagogy with those of visual culture. According to this approach – termed visual critical pedagogy – art is an integral part of the textures of society and culture and their manifold and complex visual expressions, including the more controversial and subversive among them. It objects to locking art and visual culture in art departments, and to restricting art history to a formalist analysis of ‘masterpieces’ – which represent primarily the Western art market and its underlying politics. It likewise rejects the conception of art history as the history of artists and art movements – a conservative approach still prevalent in many academic institutions. Integrating critical pedagogy with visual culture provides fertile ground for an educational practice within art classes and beyond them. Visual critical pedagogy is formulated using the concepts exposure, deciphering, representation and visibility, shared by both critical pedagogy and visual culture. These are discussed in the context of educational projects and activities planned and implemented by Jewish and Arab students enrolled in an education-through-art program in an academic college in northern Israel.

Pierce Butler's Point of View on Book in the Incunabula Collection at the Newberry Library

That photography was more than a mere technological breakthrough was clear to its inventors but not to their contemporaries or generations after. The fast visual appropriation of “reality,” the sudden transformation of this reality into an image which mirrored our world, gave us a new lease on immortality. From its inception, photography became an act of assertion and vainglory and biographers could study the psychology of a face as well as the depth of the soul. Walt Whitman once wrote: “I've been photographed, photographed, and photographed until the cameras themselves are tired of me.” (As quoted by Justin Kaplan. Walt Whitman. A Life. Simon & Schuster, 1980.) From Whitman's ego trips to the forced smiles in that brief but powerful scene in the film, Ordinary People, when family soul‐searching is captured by the click of a camera, the world around us is preserved and mythologized. Photography is witness to history and art, and shapes our lives as well. In a recent interview, Mikhail Baryshnikov stated that as a dancer he had been influenced not only by other choreographers but by “movies, musicals,(and) photo exhibitions.” (The New York Times, June 28, 1981, p. 6). Thus, photography becomes archival material, for it speaks of the human adventure in all its diversity.

Anne Anninger, "Spanish and Portuguese 16th-Century Books in the Department of Printing and Graphic Arts: A Description of an Exhibition and a Biographical Catalogue of the Collection" (Book Review)