An old master print with color is almost invariably regarded as a suspect object because the color is presumed to be a cosmetic addition made to compensate for deficiencies of design or condition. Painted Prints challenges this deeply entrenched assumption about the material and aesthetic structure of old master prints by showing that in many cases hand coloring is not a dubious supplement to a print but is instead an integral element augmenting its expressive power, beauty, and meaning. Published in conjunction with an exhibition at The Baltimore Museum of Art and St. Louis Art Museum, Painted Prints reproduces and discusses a rich variety of hand-colored prints from Northern Europe of the Renaissance and Baroque periods. Anonymous woodcuts are juxtaposed with masterworks by such famed artists as Dürer, Holbein, and Goltzius. These prints, secular as well as religious, muted as well as vibrant in tonality, make it clear that hand coloring was a widespread, enduring practice, developed to satisfy the demands of both elite and popular audiences. Painted Prints presents new research into the men and women who specialized in hand coloring and offers numerous insights into the social and economic organization of Renaissance and Baroque printmaking. It also draws on scientific analyses of the materials and techniques of hand coloring to address important questions of authenticity, chronology, and condition. With a catalogue and color illustrations of all the hand-colored prints in the exhibition, this book makes a groundbreaking contribution to the study of old master prints and their pivotal place in the visual culture of early modern Europe.The exhibition, "Painted Prints: The Revelation of Color in Northern Renaissance and Baroque Engravings, Etchings, and Woodcuts," will be at The Baltimore Museum of Art from October 6, 2002, to January 5, 2003 and St. Louis Art Museum from February 14 to May 18, 2003.

Painted Prints: The Revelation of Color in Northern Renaissance and Baroque Engravings, Etchings, and Woodcuts

Arts & Photography

Dackerman, Susan

History & Criticism

Penn State University Press

An old master print with color is almost invariably regarded as a suspect object because the color is presumed to be a cosmetic addition made to compensate for deficiencies of design or condition. Painted Prints challenges this deeply entrenched assumption about the material and aesthetic structure of old master prints by showing that in many cases hand coloring is not a dubious supplement to a print but is instead an integral element augmenting its expressive power, beauty, and meaning. 
Published in conjunction with an exhibition at The Baltimore Museum of Art and St. Louis Art Museum, Painted Prints reproduces and discusses a rich variety of hand-colored prints from Northern Europe of the Renaissance and Baroque periods. Anonymous woodcuts are juxtaposed with masterworks by such famed artists as Dürer, Holbein, and Goltzius. These prints, secular as well as religious, muted as well as vibrant in tonality, make it clear that hand coloring was a widespread, enduring practice, developed to satisfy the demands of both elite and popular audiences. 
Painted Prints presents new research into the men and women who specialized in hand coloring and offers numerous insights into the social and economic organization of Renaissance and Baroque printmaking. It also draws on scientific analyses of the materials and techniques of hand coloring to address important questions of authenticity, chronology, and condition. With a catalogue and color illustrations of all the hand-colored prints in the exhibition, this book makes a groundbreaking contribution to the study of old master prints and their pivotal place in the visual culture of early modern Europe.
The exhibition, "Painted Prints: The Revelation of Color in Northern Renaissance and Baroque Engravings, Etchings, and Woodcuts," will be at The Baltimore Museum of Art from October 6, 2002, to January 5, 2003 and St. Louis Art Museum from February 14 to May 18, 2003.

Painted Prints: The Revelation of Color in Northern Renaissance & Baroque Engravings, Etchings & Woodcuts

The Pennsylvania State University Press

The first comprehensive overview of Jasper Johns’s work in an innovative medium that the artist has singlehandedly redefined over the course of four decades Jasper Johns (b. 1930) is arguably the most important living American artist, and his work is central to any history of postwar art. With extensive new scholarship based on original research and interviews with the artist, Jasper Johns: Catalogue Raisonné of Monotypes provides the definitive account of his groundbreaking work in an intrinsically subversive medium situated between painting, drawing, and printmaking. Susan Dackerman and Jennifer L. Roberts examine Johns’s innovative use of the printing press to create alterity, overturning monotype’s long-standing reputation for subjectivity. Featured in this volume are all 143 monotypes Johns made between 1954 and June 2015, most of them published here for the first time. Each work is generously illustrated in color and accompanied by complete cataloguing information, including technical specifications, provenance, exhibition history, and bibliographic references.

Jasper Johns: Catalogue Raisonné of Monotypes

Roberts, Jennifer L.

Individual Artists

Other Distribution

Dürer’s Knots: Early European Print and the Islamic East

Princeton University Press

With an initial grant in 1979, the Hunt Manufacturing Co. began a collection at the Philadelphia Museum of Art containing adventurous and innovative works on paper by emerging artists. This catalogue marks the second installment of works acquired by the Museum since 1988, when the Museum first exhibited printmaking, drawing, and photography from the collection. Featured in this volume are acquisitions that stretch the established boundaries of composition or imagery, either through the use of centuries-old techniques or new technologies of the camera and the computer. Discussions of each work, contributed by Museum curators, and color reproductions are supplemented by brief biographies of the thirty-five artists featured in this most recent look at a unique collection of contemporary art.

New Art on Paper 2: Acquired With Funds from the Hunt Manufacturing Co., 1989-1995

Shoemaker, Innis Howe

Ittmann, John

Percy, Ann

Collections, Catalogs & Exhibitions

Philadelphia Museum of Art

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