Christian Rümelin read History of Art, History of Architecture and Modern History at Tübingen and Berne before becoming one of the editors of the Paul Klee catalogue raisonné (1998–2004). From 2002 he was Assistant Keeper at the Ashmolean Museum, Oxford, in charge of the European print collection as well as 20th-century paintings, sculptures and drawings. Since 2008 he has been Keeper of Prints and Drawings at the Musées d’art et d’histoire in Geneva, which houses one of the most outstanding collections of prints produced after World War II. He has published extensively on various aspects of printmaking, both Old Masters and contemporary. [January 2015]

Paul Coldwell’s Print and Matter

Best known to readers of this journal as a printmaker, Paul Coldwell is also active as a sculptor, though he has rarely shown these two bodies of work together. His 2015 retrospective at the University of Bradford therefore offered a singular opportunity to pull his metal and cast-resin sculptures (many cast from accessories of daily life), artist’s books and prints together in a single conversation Read More

Claude Lorrain and the Notion of Printed Arcadian Landscapes

Fig. 1. Claude Lorrain, Les deux paysages (The two landscapes) (ca. 1630), etching, 13 x 19.8 cm. Collection of the Rijksmuseum, Amsterdam.

The use of landscape as subject and background in prints dates back to the late 15th century, but new approaches appeared in Rome in the early 17th century. Claude Lorrain concentrated on the depiction of landscape from early in his career, and Joachim Sandrart described how he would go out into the Roman countryside with fellow artists to draw directly from nature. Read More