William Henry Johnson, detail from Jitterbugs II (ca. 1941).

William Henry Johnson’s Jitterbugs II

Rembrandt Harmensz. van Rijn, detail from Christ Preaching (La petite Tombe) (ca. 1652).

Drawing in the Dirt at the Feet of Christ: Rembrandt

Agostino Lauro, detail from Portrait of the Engraver’s Daughter (1845).

Agostino Lauro and the Strange Engraver’s Daughter

Bill Thompson, detail from Edition (2015).

Prix de Print No. 15: Edition by Bill Thompson

  • St. Anthony’s Toes: Following Dürer’s Line

    A postcard of Dürer’s 1519 engraving of St. Anthony at its original size has been pinned to the wall near my working desk for years, during which time I have gradually summoned the courage to embark on the old-fashioned exercise of copying the print …Read more

  • Giorgio Morandi: Epiphany in a Bottle

    Giorgio Morandi, detail from Still Life with Vases, Bottles etc. on a table (1929), etching, 15 x 20.5 cm. Estorick Collection, London, UK / Bridgeman Images. ©2015 Artists Rights Society (ARS), New York / SIAE, Rome.

    I first saw this print, Still Life with Vases, Bottles etc. on a table (1929), in the exhibition “Giorgio Morandi—Etchings” at the Tate Gallery in 1991. The exhibition made a great impression on me—I could go as far as saying that it represented an epiphany …Read more

  • The Affecting Scale of Walter Inglis Anderson

    Looking south across Beach Boulevard, past the live oaks and shipyard and across the whitecaps in the Mississippi Sound, I can see Round Island and Horn. The latter rests on the horizon about nine miles out, hardly more than a white line …Read more

  • The Divinity of Detail: Raphael and Johann Gotthard Müller

    Left: Johann Gotthard von Müller, detail from La Madonna della Sedia (late 18th–early 19th century), engraving. ©Victoria and Albert Museum, London. Right: Raphael Morghen, detail from La Madonna della Sedia (late 18th–early 19th century), engraving, plate 42.3 × 36.5 cm, sheet 64 × 50 cm. Harvard Art Museums/Fogg Museum, Gift of William Gray from the collection of Francis Calley Gray, G2760. Photo: Imaging Department ©President and Fellows of Harvard College.

    During the 18th century, regular discussions about prints occurred between engravers and the people commissioning the work, mostly about overall appearance and quality of execution and/or the terms of payment.1 One case, however, stands out for what it reveals about the visual interpretation …Read more

    1. Many of these contracts have been published in the past. For a general overview see: Robert Verhoogt, Art in Reproduction: Nineteenth-century Prints after Lawrence Alma-Tadema, Jozef Israëls and Ary Scheffer (Amsterdam: Amsterdam University Press, 2007), especially chapter 2. []