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 line by line at the same scale. Dürer’s work commands my respect as an engraver much as the bar set for record height commands that of a high jumper when he stands before it. By closely following the lines of the original print, I wanted to understand Dürer’s technique and how he used it to visualize his idea. That meant following his syntax of lines rather than telling my own story of his St. Anthony. In the end, of course, I had to tell my own story—one that inevitably reflects my own sense of self as an artist.
Edvard Munch’s Use and Abuse of Alcohol
- by Gerd Woll
- Alcohol as subject, catalyst and calamity.
Celebration and Censure: The Aperitif and the Art of the Poster in Belle Époque France
- by Gretchen Schultz
- Drink culture in fin de siècle posters.
Through the Wine Glass: Whistler and the Hour of the Little Cocktail
- by Catherine Bindman
- A study of the artist's tiny, tender Wine Glass etching.
Hogarth’s Midnight Modern Conversation
- by David Bindman
- A misunderstood moral is clarified.
Prix de Print No. 25: Over the hill by Ralph Overill
- by Nicolas Collins
- Disruption the digital precision of celluloid film stills.