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From the invention of four-colour separation printing c. 1710 to the introduction of chromolithography c. 1830,
Printing Colour 1700-1830 offers the first survey of eighteenth-century colour printmaking in and beyond western Europe, dynamically expanding print history to include such diverse consumer goods as clothing, wallpapers, and pottery.
Table des matières
- Introduction
- Part I: Materials and Techniques Printing Colour in 18th-Century Europe
- Tools, Machines, and Presswork for Printing Colour in 18th-Century Europe
- Colour Printing Inks and Colour Inking in 18th-Century Europe
- Part II Relief Techniques: Letterpress, and Colour Woodcut
- Colour Letterpress in Europe in the Long 18th Century
- Elisha Kirkall and his Proposals for Printing in Chiaroscuro, Natural Colours and Tints, 1720-1740
- Printing Chiaroscuro and Colour Woodcuts in Paris, Venice, and London c.1725-70
- Bringing Colour to Books and Objects with Decorated Paper in the Long 18th Century
- Colour for Commerce: Letterpress-Printed Ephemera in Britain, 1700-1830
- Part III Mezzotint and Trichromatic Printing
- The Politics of Process Mezzotint: Jacob Christoff Le Blon's Reputation, 1700-89
- From Colour Theory to Colour Practice: Printmakers in Pursuit of the Ideal Pigments in 18th-Century Europe
- Colouring the Body: Printed Colour in Medical Treatises during the Long Eighteenth Century
- Colour Printing in Late 18th-Century Italy: Édouard and Louis Dagoty, 1770-1800
- Part IV Chalk, Pastel and Watercolour Manner, and Aquatint
- Printed Paintings and Engraved Drawings: Technical Innovations in Colour Printing in 18th-Century France
- Coloured Prints in Imitation of Old Master Drawings in 18th-Century Italy: Anton Maria Zanetti the Elder, Benigno Bossi, Francesco Rosaspina and their Contemporaries
- François-Philippe Charpentier and the Development of Aquatint in France in the 1760s
- A Voyage pittoresque in Norway through Colour Prints, 1789-c.1815
- The Market for Colour Prints in Paris at the End of the 18th Century
- Multiple-Plate Colour Prints and the Problems of Variant Impressions, Missing Plates, and Disappearing Inks
- Part V Stipple and a la Poupée
- English Colour-Printed Stipple Engravings, 1774-1800
- Between Painting and Graphic Arts: Colour Printmaking in Russia, 1750s-1800s
- Anne Allen, Jean Pillement, and the Development of à la poupée Printing in France
- The Contribution of à la poupée-inked Colour Printing to Natural History Illustration in France, 1800-1870
- Part VI Consumer Goods and Expanding Markets for Colour Printing
- Anatomy to Embroidery: Intaglio Colour-Printed Illustrations in European Books and Periodicals, 1700-1850
- Early Dye-Patterned Colour on Calico in Europe, 1600-1840
- Printed Wallpaper in England in the Long Eighteenth Century
- Colour Printing on English Ceramics, 1751-70
- Part VII Technical Experimentation and Industrialisation
- William Blake's Colour Printing: Methods and Materials
- Innovation and Tradition in Early 19th-Century Colour Printing
- The Beginnings of Commercial Colour Printing in Europe, 1835-1840
A propos de l'auteur
Dr Elizabeth Savage FSA FRHistS is Senior Lecturer in Book History and Communications, School of Advanced Study, and Head of Academic Research Engagement, Senate House Library, University of London. In 2020-22, she was an Honorary Fellow at Centre for the Study of the Book, Bodleian Libraries, Oxford University. In 2022-23, she was a Fellow at Linda Hall Library. Her research into pre-industrial European printing techniques, especially for colour, has won awards including the Schulman and Bullard Article Prize. Her latest book is
Early Colour Printing: German Renaissance Woodcuts at the British Museum, and she co-edited
Printing Colour 1400-1700. She regularly curates and contributes to exhibitions about print heritage, for example at the British Museum and Musée du Louvre. She teaches at London Rare Books School.
Dr Margaret Morgan Grasselli worked for forty years at the National Gallery of Art in Washington, thirty as Curator of Old Master Drawings. Having retired in 2020, she then served as Visiting Lecturer in the department of History of Art and Architecture of the Faculty of Arts and Sciences at Harvard University (2020-2022) and Visiting Senior Scholar for Drawings at the Harvard Art Museums (2020-2023). An expert on French drawings, she is also an authority on French colour prints of the 18th century. She organised the 2003 exhibition at the National Gallery of Art, Colorful Impressions: The Printing Revolution in Eighteenth-Century France, and was the editor and primary author of the accompanying catalogue.
Résumé
From the invention of four-colour separation printing c. 1710 to the introduction of chromolithography c. 1830, Printing Colour 1700-1830 offers the first survey of eighteenth-century colour printmaking in and beyond western Europe, dynamically expanding print history to include such diverse consumer goods as clothing, wallpapers, and pottery.
