Christian Rümelin is 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.
Read MoreInternationally renowned for his paintings, drawings, sculptural artists books and oversized (and often overpainted) prints, Anselm Kiefer requires little introduction
Read MoreBest 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
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. One case, however, stands out for what it reveals about the visual interpretation Read More
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