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Below are some books and guides about printmaking.

| Related Pages + Web Sites |
Other websites that may be of interest:

Here are some books from Amazon.com:
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Carnegie Museum of Art Paperback (200 pages)
 | List Price: $34.95* Lowest New Price: $23.35* Lowest Used Price: $16.74* Usually ships in 24 hours* *(As of 18:30 Pacific 3 Feb 2012 More Info)
Click Here | Product Description: This volume presents more than 1,000 exemplary twentieth-century Japanese woodblock prints, from the collection of Carnegie Museum of Art in Pittsburgh. Taken together, the collection reflects the stylistic movements, aesthetic directions and historic changes of the past century, with particular emphasis on two significant movements: sosakuhanga (creative prints), represented by in-depth selections by Hiratsuka Un'ichi, Onchi Koshiro and Munakata Shiko; and shin-hanga (new prints), with works by Kawase Hasui and Hashiguchi Goyo. Carnegie Museum of Art also possesses several complete series of prints produced in such limited numbers that they are rarely seen today, including One Hundred Views of New Tokyo created between 1929 and 1932. In addition, an essay on the history and significance of the collection provides a brief introduction to Japanese printmaking in the twentieth century, making this illustrated guide an invaluable reference for researchers, curators, collectors and general enthusiasts of Japanese art. |
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By Walter Knestrick & Vincent Katz
Harry N Abrams Paperback
 | Lowest New Price: $22.50* Lowest Used Price: $11.60* *(As of 18:30 Pacific 3 Feb 2012 More Info)
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Grunwald Center for the Graphic Arts, University of California, Los Angeles Hardcover (496 pages)
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Chazen Museum of Art Paperback (144 pages)
 | List Price: $34.95* Lowest New Price: $69.87* Lowest Used Price: $69.57* *(As of 18:30 Pacific 3 Feb 2012 More Info)
Click Here | Product Description:
Color woodcut printmaking was not new to Britain, America, or Japan in the late eighteenth century. Yet after Japan was opened to the West in 1854 and deeper cultural exchange began, Japanese prints captured the European and American imagination. The fresh colors, simplicity of materials, and departure from traditional compositions entranced western artists and the public alike. Likewise, Japanese audiences and artists were intrigued by the styles and techniques of western art, which was broadly available in Japan by the end of the nineteenth century. Artists there created images of the strange foreigners and imagined what American cities looked like. By the beginning of the twentieth century, artists were not content to merely imagine what the other side of the world looked like. As prints traveled around the globe for study so did artists, and with them spread the tricks and techniques of color woodblock printmaking as well as appreciation for the prints. Woodblock printmakers in the West started to investigate Japanese processes, and Japanese publishers began to seriously seek out the print market outside of Japan. Important themes began to emerge; scenes of nature and old-fashioned architecture outnumbered modern city views, and images of animals were nearly as popular as those of human figures. Imagery was often idyllic and beautiful, attractive to an international audience. Twentieth-century art, however, moves at a furious pace, and the ferment of the international woodcut style quickly ran its course. Artists appropriated what they needed from the color woodcut, then developed techniques, subjects, and styles in their own ways. An ever-expanding range of prints became indebted to the artists of the previous generation who had reinvigorated woodblock printmaking styles and practices around the world. This full-color catalogue includes many prints from this colorful exhibition and shows how the progression of styles became more similar as international artists learned from and competed with each other, then stylistically diverged as artists of each country took what they learned in new directions. The three essays each focus on the influences and contributions made to the international style by three countries: Japan, Britain, and America. |
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By Crown
Harmony Released: 1979-07-12 Hardcover (80 pages)
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By Mary Tolman
Tuttle Pub Hardcover (248 pages)
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By Edith McCulloch & John Beaufort
Wittenborn Art Books Hardcover (150 pages)
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Houghton Mifflin Hardcover (127 pages)
| List Price: $29.95* Lowest New Price: $13.99* Lowest Used Price: $0.01* *(As of 18:30 Pacific 3 Feb 2012 More Info)
Click Here | Product Description: Her prints hang in the boardrooms of some of North America's biggest corporations--and in the cabins of some of New England's most rustic fishing camps. Among the few contemporary artists whose work has found an enthusiastic following well outside the traditional world of collectors and fine-art experts, Sabra Field has attracted a diverse and growing national audience. Her 1987 Vermont Bicentennial commemorative stamp, for example, depicting yellow farm fields, a red barn, and blue mountains, quickly became one of the U.S. Postal Service's best-selling issues, with more than 60 million copies purchased.
Author Tom Slayton says that Field, who lives deep in the Vermont countryside, brilliantly expresses "a rural zeigeist in her wood-block prints that is in the age-old traditional of pastoralism . . . which belies the underlying complexity of her work." But while Field's work falls solidly within the pastoral tradition, it also significantly updates it, striking a chord with activist environmentalists and policymakers and inspiring action not normally associated with the traditions of pastoral art.
One of North America's most accomplished contemporary printmakers, Sabra Field produces works of great beauty and boldness--with the power to command attention and appreciation at first glance and to endure the test of time in the eyes of their beholders. She is also coauthor of Before Life Hurries On. |
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By Sol LeWitt
Tate Publishing(UK) Paperback (80 pages)
| Lowest Used Price: $19.95* *(As of 18:30 Pacific 3 Feb 2012 More Info)
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With essays by Nicholas Baume, Jonathan Flatley, and Pamela M. Lee. Begun in 1974, Incomplete Open Cubes is a sophisticated and elaborate expression of conceptualist art-making by Sol LeWitt, one of the most influential abstract artists of his generation. No other serial project by LeWitt or his contemporaries embodies with such eloquence so many of the central artistic concerns of the period.Incomplete Open Cubes exemplifies the deployment of a single idea to become, in LeWitt's words, "a machine that makes the art." The work forges a new way of making art in its ambitious use of a serial system that enables a kind of "noncompositional composition." The translation of the same idea into different scales and media is another key aspect of the work. All 122 variations in the series exist in three dimensions, from a set in which each cube is 2 1/2 inches square to the 40 inches square human-scaled versions. There are also entire sets of photographs, drawings, working sketches and notes, and an artist's book.This publication, which accompanies an exhibition of Incomplete Open Cubes, is the first sustained critical examination of this body of work. The book features much previously unpublished material, including working drawings, schematic drawings, and models, in addition to photographs of the installed structures.Copublished with the Wadsworth Atheneum. |
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By Barry Walker
Univ of Washington Pr Paperback (144 pages)
| List Price: $14.95* Lowest New Price: $69.95* Lowest Used Price: $1.49* *(As of 18:30 Pacific 3 Feb 2012 More Info)
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