Barthélemy Roger, after Pierre-Paul Prud’hon, detail from L’Amour séduit l’Innocence (Innocence Seduced by Love) (Salon of 1812).

Will Photography Kill Engraving?

Vincent van Gogh, detail from La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930) (1889).

Cézanne and Wallpaper: “Backgrounds As Imaginary As They Are Real”

Detail from packaging for Harry Gordon’s Poster Dresses (1968). Photo: Panos Davios. ©Atopos cvc collection, Athens.

‘Fragile,’ ‘Souper’ and POP! The Atopos Paper Fashion Collection

Edward Bawden, detail from Sunday Evening (1949).

Charm, the Great English Blight: Edward Bawden in 1949

Stagecraft: Designers, Artists and the Theater of Print in a Digital World

“Person holding poster” has become an online paradigm and cliché—a way to demonstrate genuine physical presence, and by extension, to convey some property of authenticity. Jason Urban considers what this says about what we seek in printed images.

Christiane Baumgartner: White Noise

Jasper Kettner reviews White Noise, the first major catalogue devoted to the work of Christiane Baumgartner.

Prix de Print No. 7: A Television ‘Tronie’ by Brian Cohen

Guest juror and curator/consultant Nigel Frank celebrates Brian Cohen’s portrait of Walter White, Breaking Bad’s meth-dealing homebody.

Line v. Color

Marlborough Galleries’ recent exhibition demonstrates that line was just as essential as color to the art of Henri Matisse.

This review appears in the September-October issue of Art in Print (Vol.4, No.3).