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general public. Many people were still illiterate during this time and there was push after the
Revolution for widespread education. In 1910 when the Revolution began, only 20% of Mexican people could read. Art was considered to be highly important in this cause and political artists were using journals and newspapers to communicate their ideas through illustration.
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457:, in Italy. Initially religious subjects, often very small indeed, were by far the most common. Many were sold to pilgrims at their destination, and glued to walls in homes, inside the lids of boxes, and sometimes even included in bandages over wounds, which was superstitiously believed to help healing.
787:(éŠç””, "brocade pictures") â a method that used multiple blocks for separate portions of the image, so a number of colours could achieve incredibly complex and detailed images; a separate block was carved to apply only to the portion of the image designated for a single colour. Registration marks called
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in woodcut using two or more blocks printed in different colours; they do not necessarily feature strong contrasts of light and dark. They were first produced to achieve similar effects to chiaroscuro drawings. After some early experiments in book-printing, the true chiaroscuro woodcut conceived for
351:
Rubbing: Apparently the most common method for Far
Eastern printing on paper at all times. Used for European woodcuts and block-books later in the fifteenth century, and very widely for cloth. Also used for many Western woodcuts from about 1910 to the present. The block goes face up on a table, with
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This is why woodcuts are sometimes described by museums or books as "designed by" rather than "by" an artist; but most authorities do not use this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, without needing to learn the use
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Multiple colours can be printed by keying the paper to a frame around the woodblocks (using a different block for each colour). The art of carving the woodcut can be called "xylography", but this is rarely used in
English for images alone, although that and "xylographic" are used in connection with
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allowed a diverse range of topics and visual culture to look unified. Traditional, folk images and avant-garde, modern images, shared a similar aesthetic when it was engraved into wood. An image of the countryside and a traditional farmer appeared similar to the image of a city. This symbolism was
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After the
Mexican Revolution, the country was in political and social upheaval - there were worker strikes, protests, and marches. These events needed cheap, mass-produced visual prints to be pasted on walls or handed out during protests. Information needed to be spread quickly and cheaply to the
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are both relief-printed, they can easily be printed together. Consequently, woodcut was the main medium for book illustrations until the late sixteenth century. The first woodcut book illustration dates to about 1461, only a few years after the beginning of printing with movable type, printed by
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There were various methods of transferring the artist's drawn design onto the block for the cutter to follow. Either the drawing would be made directly onto the block (often whitened first), or a drawing on paper was glued to the block. Either way, the artist's drawing was destroyed during the
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In Europe and Japan, colour woodcuts were normally only used for prints rather than book illustrations. In China, where the individual print did not develop until the nineteenth century, the reverse is true, and early colour woodcuts mostly occur in luxury books about art, especially the more
1228:. They are committed to social change through woodcut art. Their prints are made into wheat-paste posters which are secretly put up around the city. Artermio Rodriguez is another artist who lives in Tacambaro, MichoacĂĄn who makes politically charged woodcut prints about contemporary issues.
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sometimes made use of it. In the German style, one block usually had only lines and is called the "line block", whilst the other block or blocks had flat areas of colour and are called "tone blocks". The
Italians usually used only tone blocks, for a very different effect, much closer to the
537:
or two colours. Sometimes these were hand-coloured after printing. Later, prints with many colours were developed. Japanese woodcut became a major artistic form, although at the time it was accorded a much lower status than painting. It continued to develop through to the twentieth century.
623:
Though the
Japanese influence was reflected in many artistic media, including painting, it did lead to a revival of the woodcut in Europe, which had been in danger of extinction as a serious art medium. Most of the artists above, except for FĂ©lix Vallotton and Paul Gauguin, in fact used
1204:, whose woodcut prints later influenced the art of social movements in the US in the 1960s and 1970s. The Treintatreintistas even taught workers and children. The tools for woodcut are easily attainable and the techniques were simple to learn. It was considered an art for the people.
488:
brought the
Western woodcut to a level that, arguably, has never been surpassed, and greatly increased the status of the "single-leaf" woodcut (i.e. an image sold separately). He briefly made it equivalent in quality and status to engravings, before he turned to these himself.
358:. Later in Japan, complex wooden mechanisms were used to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful once multiple colours were introduced and had to be applied with precision atop previous ink layers.
1966:
512:. Woodcut was used less often for individual ("single-leaf") fine-art prints from about 1550 until the late nineteenth century, when interest revived. It remained important for popular prints until the nineteenth century in most of Europe, and later in some places.
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This technique just carves the image in mostly thin lines, similar to a rather crude engraving. The block is printed in the normal way, so that most of the print is black with the image created by white lines. This process was invented by the sixteenth-century
587:
In the 1860s, just as the
Japanese themselves were becoming aware of Western art in general, Japanese prints began to reach Europe in considerable numbers and became very fashionable, especially in France. They had a great influence on many artists, notably
82:âleaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the
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used relief and wood throughout, with up to eleven different colours, and latterly specialized in illustrations for children's books, using fewer blocks but overprinting non-solid areas of colour to achieve blended colours. Artists such as
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were used from about 1480 for
European prints and block-books, and before that for woodcut book illustrations. Simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking. A deceased Abbess of
330:, only low pressure is required to print. As a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. In Europe, a variety of woods including
347:
Stamping: Used for many fabrics and most early
European woodcuts (1400â40). These were printed by putting the paper/fabric on a table or other flat surface with the block on top, and pressing or hammering the back of the
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Coloured woodcuts first appeared in ancient China. The oldest known are three Buddhist images dating to the 10th century. European woodcut prints with coloured blocks were invented in Germany in 1508, and are known as
688:
prestigious medium of painting. The first known example is a book on ink-cakes printed in 1606, and colour technique reached its height in books on painting published in the seventeenth century. Notable examples are
1138:(1910â1920). In Europe, Russia, and China, woodcut art was being used during this time as well to spread leftist politics such as socialism, communism, and anti-fascism. In Mexico, the art style was made popular by
1133:
Woodcut printmaking became a popular form of art in Mexico during the early to mid 20th century. The medium in Mexico was used to convey political unrest and was a form of political activism, especially after the
563:, but became most popular in the nineteenth and twentieth century, often in a modified form where images used large areas of white-line contrasted with areas in the normal black-line style. This was pioneered by
1200:(1928â1930) to create prints (many of them woodcut prints) that reflected their socialist and communist values. The TGP attracted artists from all around the world including African American printmaker
434:(before 220), and are of silk printed with flowers in three colours. "In the 13th century the Chinese technique of blockprinting was transmitted to Europe." Paper arrived in Europe, also from China via
1212:
beneficial for politicians who wanted a unified nation. The physical actions of carving and printing woodcuts also supported the values many held about manual labour and supporting workers' rights.
1109:(1909â1989) developed during the 1930s and 1940s a variant chiaroscuro technique with several gray tones from ordinary printing ink. The art historian Gunnar Jungmarker (1902â1983) at Stockholm's
1142:, who was known as the father of graphic art and printmaking in Mexico and is considered the first Mexican modern artist. He was a satirical cartoonist and an engraver before and during the
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in its fully developed form, spread more widely, and was used for prints, from the 1760s on. Text was nearly always monochrome, as were images in books, but the growth of the popularity of
1113:
called this technique "grisaille woodcut". It is a time-consuming printing process, exclusively for hand printing, with several grey-wood blocks aside from the black-and-white key block.
1093:. In the German states the technique was in use largely during the first decades of the sixteenth century, but Italians continued to use it throughout the century, and later artists like
727:
brought with it demand for ever-increasing numbers of colours and complexity of techniques. By the nineteenth century most artists worked in colour. The stages of this development were:
352:
the paper or fabric on top. The back is rubbed with a "hard pad, a flat piece of wood, a burnisher, or a leather frotton". A traditional Japanese tool used for this is called a
430:
Woodcut originated in China in antiquity as a method of printing on textiles and later on paper. The earliest woodblock printed fragments to survive are from China, from the
1066:
in Germany in 1508 or 1509, though he backdated some of his first prints and added tone blocks to some prints first produced for monochrome printing, swiftly followed by
484:). Both of these produced mainly book-illustrations, as did various Italian artists who were also raising standards there at the same period. At the end of the century
1019:
876:
445:, developing about 1400, by using, on paper, existing techniques for printing. One of the more ancient single-leaf woodcuts on paper that can be seen today is
1010:
1189:(1924â29) was a popular communist journal that used woodcut prints. The woodcut art served well because it was a popular style that many could understand.
550:
Using a handheld gouge to cut a "white-line" woodcut design into Japanese plywood. The design has been sketched in chalk on a painted face of the plywood.
771:(æŒç””) â a method that used glue to thicken the ink, emboldening the image; gold, mica and other substances were often used to enhance the image further.
643:
came to appeal because it was relatively easy to complete the whole process, including printing, in a studio with little special equipment. The German
983:
438:, slightly later, and was being manufactured in Italy by the end of the thirteenth century, and in Burgundy and Germany by the end of the fourteenth.
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In both Europe and East Asia in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called
102:, which are small books containing text and images in the same block. They became popular in Europe during the latter half of the 15th century. A
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In both Europe and East Asia, traditionally the artist only designed the woodcut, and the block-carving was left to specialist craftsmen, called
742:(çŽ
æșăç””, "crimson printed pictures") â red ink details or highlights added by hand after the printing processïŒgreen was sometimes used as well
1301:
668:
2380:
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Since its origins in China, the practice of woodcut has spread around the world from Europe to other parts of Asia, and to Latin America.
916:
group developed a process of producing coloured woodcut prints using a single block applying different colours to the block with a brush
864:
948:
2022:"Ugo da Carpi after Parmigianino: Diogenes (17.50.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art"
90:, where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (
2508:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on woodcuts
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Mexico at this time was trying to discover its identity and develop itself as a unified nation. The form and style of woodcut
2505:
1950:
1894:
1861:
1820:
1308:
43:
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L Sickman & A Soper, "The Art and Architecture of China", Pelican History of Art, 3rd ed 1971, Penguin, LOC 70-125675
374:"â"an instrument for printing texts and pictures ... with 14 stones for printing". This is probably too early to be a
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2436:
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1840:
170:
148:
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is a 15th-century publication that is considered the first Italian illustrated book, using early woodcut techniques.
141:
2311:
Avila, Theresa (4 May 2014). "El Taller de GrĂĄfica Popular and the Chronicles of Mexican History and Nationalism".
1664:) where wood is rare and expensive, the woodcut technique is used with stone as the medium for the engraved image.
964:
492:
In the first half of the 16th century, high quality woodcuts continued to be produced in Germany and Italy, where
1774:
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and several nut and fruit woods like pear or cherry were commonly used; in Japan, the wood of the cherry species
61:
1121:
827:), printed in black or a dark colour, and then overprinted with up to twenty different colours from woodblocks.
2233:
Montgomery, Harper (December 2011). ""Enter for Free": Exhibiting Woodcuts on a Street Corner in Mexico City".
2185:"Visualizing a country without a future: Posters for Ayotzinapa, Mexico and the struggles against state terror"
1886:
1315:
1996:
Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna
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and he popularized Mexican folk and indigenous art. He created the woodcut engravings of the iconic skeleton (
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in turn handed the block on to specialist printers. There were further specialists who made the blank blocks.
763:(玫甔, "purple pictures"), and other styles that used a single colour in addition to, or instead of, black ink
527:
and was introduced in the seventeenth century for both books and art. The popular "floating world" genre of
460:
The explosion of sales of cheap woodcuts in the middle of the century led to a fall in standards, and many
1193:
628:, especially for coloured prints. See below for Japanese influence in illustrations for children's books.
2501:
Italian Renaissance Woodcut Book Illustration from the Metropolitan Museum of Art Timeline of Art History
1835:
Shelagh Vainker in Anne Farrer (ed), "Caves of the Thousand Buddhas", 1990, British Museum publications,
1321:
520:
17:
2494:
2484:
1173:. Recognizing the importance of Posada's woodcut engravings, he started teaching woodcut techniques in
285:, a movement that retained traditional methods. In the West, many artists used the easier technique of
210:, some of whom became well known in their own right. Among these, the best-known are the 16th-century
1566:
1265:
1026:
597:
2140:
Azuela, Alicia (1993). "El Machete and Frente a Frente: Art Committed to Social Justice in Mexico".
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Today, in Mexico the activist woodcut tradition is still alive. In Oaxaca, a collective called the
135:
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1139:
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2002:, London, MarchâJune 2014, exhibition guide, both credit Cranach with the innovation in 1507.
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Printing in a press: presses only seem to have been used in Asia in relatively recent times.
354:
1259:
2080:
Hung, Chang-Tai (1997). "Two images of Socialism: Woodcuts in Chinese Communist Politics".
2070:, pp. 165â171. The American Scandinavian Review, Vol. LXI, No. 2, June 1973. New York 1973.
1910:
1642:
1541:
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and other artists arranged for some to be made. Much of the interest was in developing the
30:
For the origins of the technique, development in Asia, and non-artistic use in Europe, see
1815:. Houghton Mifflin Co. 1935 (in USA), reprinted Dover Publications, 1963. pp. 64â94.
1150:) figures that are prominent in Mexican arts and culture today (such as in Disney Pixar's
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unum instrumentum ad imprintendum scripturas et ymagines ... cum 14 aliis lapideis printis
215:
8:
2520:
1406:
1284:
1177:'s open-air art schools. Many young Mexican artists attended these lessons including the
1155:
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woodcuts (see below). However, colour did not become the norm, as it did in Japan in the
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1632:
2355:"ASAROâAsamblea de Artistas Revolucionarios de Oaxaca | Jordan Schnitzer Museum of Art"
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1911:"Shi zhu zhai shu hua pu, or, Ten Bamboo Studio collection of calligraphy and painting"
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The art reached a high level of technical and artistic development in East Asia and
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was significant in making German woodcuts more sophisticated from about 1475, and
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Museum of Modern Art information on printing techniques and examples of prints.
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78:. An artist carves an image into the surface of a block of woodâtypically with
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2289:
1749: â Genre of Japanese art which flourished from the 10th to 19th centuries
222:, all of whom ran workshops and also operated as printers and publishers. The
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2332:
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1999:
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A number of different methods of colour printing using woodcut (technically
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1078:, it is clear that his, the first Italian examples, date to around 1516.
1043:
734:(ćąšæșăç””, "ink printed pictures") â monochrome printing using only black ink
689:
677:
625:
601:
533:
originated in the second half of the seventeenth century, with prints in
431:
233:
75:
1174:
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was the first to use cross-hatching (far harder to do than engraving or
94:), leaving ink upon the flat surface but not in the non-printing areas.
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The Great Wave: The Influence of Japanese Woodcuts on French Prints
1713: â Process of creating artworks by printing, normally on paper
1698:
1501:
1466:
923:
845:
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755:
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560:
465:
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791:(èŠćœ) ensured correspondence between the application of each block.
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in Europe to create a suitable style, with flat areas of colour.
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instead of paint; lacquer was very rarely if ever used on prints.
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708:
529:
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481:
331:
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183:
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694:
Treatise on the Paintings and Writings of the Ten Bamboo Studio
493:
314:(1902). In mixed white-line (below) and normal woodcut (above).
91:
34:. For the related technique invented in the 18th century, see
2379:
Graham De La Rosa, Michael; Gilbert, Samuel (25 March 2017).
2278:
Compare: A Journal of Comparative and International Education
1683: â Use of strong contrasts between light and dark in art
1278:
1098:
chiaroscuro drawings the term was originally used for, or to
1049:
240:
cutting process. Other methods were used, including tracing.
620:. In 1872, Jules Claretie dubbed the trend "Le Japonisme".
1743: â Early printing technique using carved wooden blocks
516:
2276:"Mexico: An Emerging Nation's Struggle Toward Education".
2506:
Prints & People: A Social History of Printed Pictures
1943:
The Print in Germany, 1880â1933: The Age of Expressionism
844:
were influenced by the Japanese prints now available and
815:) were developed in Europe in the 19th century. In 1835,
703:
426:, Venice, Bernardino Benaglio e Giovanni de Cereto (1511)
2378:
106:
is a woodcut presented as a single stand alone image or
1775:"Gouge: The Modern Woodcut 1870 to Now â Hammer Museum"
1737: â Form of working wood by means of a cutting tool
500:, using multiple blocks printed in different colours.
1994:
so Landau and Parshall, 179â192; but Bartrum, 179 and
1707: â Work of art made printing on paper in the West
1215:
1192:
Artists and activists created collectives such as the
926:). A remarkable example of this technique is the 1915
417:
A less sophisticated woodcut book illustration of the
2543:
Meditations, or the Contemplations of the Most Devout
2526:
A collection of woodcuts images can be found at the
1116:
748:(äžčç””) â orange highlights using a red pigment called
441:
In Europe, woodcut is the oldest technique used for
1798:
Landau & Parshall, 21â22; Uglow, 2006. p. xiii.
922:and then printing (halfway between a woodcut and a
2228:
2226:
2224:
2222:
2220:
1878:
1856:. New York: Oxford University Press. p. 830.
343:There are three methods of printing to consider:
2551:
2109:
2107:
2105:
2103:
2050:, pp. 179â202; 273â81 & passim; Yale, 1996,
453:, in the Italian language), in the Cathedral of
214:(who also used "Formschneider" as his surname),
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1769:
1767:
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1763:
993:IV as Takemura Sadanoshin, Japanese woodcut by
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1940:
1222:Asamblea De Artistas Revolucionarios De Oaxaca
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2100:
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1760:
1302:Takiyasha the Witch and the Skeleton Spectre
940:
223:
200:
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2126:
2068:Torsten Billman and the Wood Engraver's Art
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2467:Nature's Engraver: A Life of Thomas Bewick
2441:
2232:
2082:Comparative Studies in Society and History
1941:Carey, Frances; Griffiths, Antony (1984).
1231:
1062:two blocks was probably first invented by
2200:
933:woodcut print from the collection of the
171:Learn how and when to remove this message
2113:
1677: â Early Western block-printed book
1333:
1120:
1053:by anonymous 16th-century Italian artist
1038:
889:
794:
702:
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639:, continued to use the medium, which in
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182:
134:This article includes a list of general
42:
1967:"Portrait of Otto MĂŒller (1983,0416.3)"
1813:An Introduction to a History of Woodcut
1034:
669:The Fifty-Three Stations of the TĆkaidĆ
14:
2552:
2182:
2139:
1806:
1804:
378:-type printing press in that location.
292:
2528:University of Houston Digital Library
2310:
541:
116:
110:, as opposed to a book illustration.
2429:German Renaissance Prints, 1490â1550
2079:
1876:
1810:
1719: â Small tool for over-printing
464:were very crude. The development of
120:
2450:David Landau & Peter Parshall,
2381:"Oaxaca's revolutionary street art"
1851:
1829:
1801:
1701: â Early printmaking technique
1660:In parts of the world (such as the
1216:Current woodcut practices in Mexico
1074:'s claim for Italian precedence in
759:(èæșăç””, "indigo printed pictures"),
698:Mustard Seed Garden Painting Manual
24:
2116:"Printmaking in Mexico, 1900â1950"
1971:British Museum Collection Database
1329:
870:A matrix for each of the 4 colours
775:can also refer to paintings using
719:In Japan colour technique, called
140:it lacks sufficient corresponding
25:
2576:
2474:
1309:The Dream of the Fisherman's Wife
1117:Modern woodcut printing in Mexico
302:The Crab that played with the sea
2411:. National Film Board of Canada.
1945:. London: British Museum Press.
1689: â Brazilian literary genre
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799:Children's book illustration by
125:
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2347:
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2176:
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2060:
2040:
2014:
2005:
1988:
1959:
1260:Four Horsemen of the Apocalypse
1169:, a French printmaker moved to
62:Four Horsemen of the Apocalypse
2517:Woodcut in early printed books
2431:; British Museum Press, 1995,
2247:10.1080/00043249.2011.10791070
2202:10.1016/j.geoforum.2017.10.009
2120:The Metropolitan Museum of Art
1934:
1925:
1903:
1887:The Metropolitan Museum of Art
1870:
1845:
1792:
1316:Thirty-six Views of Mount Fuji
1224:(ASARO) was formed during the
1025:Modern woodcut Carp Painting,
823:line plate (or occasionally a
468:followed on rather later than
13:
1:
2418:
2284:(2): 8â10. 1 September 1975.
1731: â Japanese art movement
1725: â Japanese art movement
1695: â Printmaking technique
1085:to use the technique include
399:
50:
2519:(online exhibition from the
2325:10.1080/09528822.2014.930578
1852:HsĂŒ, Immanuel C. Y. (1970).
1009:Dragon, Japanese woodcut by
803:; engraving and printing by
700:published in 1679 and 1701.
7:
2183:Wright, Melissa W. (2017).
1913:. Cambridge Digital Library
1667:
1649:
1345:, 1912, various collections
1322:The Great Wave off Kanagawa
819:patented a method using an
576:
521:Woodblock printing in Japan
279:
258:
10:
2581:
2495:Metropolitan Museum of Art
2485:Metropolitan Museum of Art
1653:
858:les Cent Bibliophiles 1922
647:used woodcut a good deal.
580:
569:
382:
29:
2290:10.1080/03057927509408824
1569:(Master I.B. with a Bird)
1567:Giovanni Battista Palumba
1266:Hypnerotomachia Poliphili
1196:(TGP) (1937âpresent) and
1194:Taller de GrĂĄfica Popular
1057:Chiaroscuro woodcuts are
941:Gallery of Asian woodcuts
650:
598:Henri de Toulouse-Lautrec
273:
252:
27:Relief printing technique
2011:Landau and Parshall, 150
1854:The Rise of Modern China
1811:Hind, Arthur M. (1963).
1754:
707:Bijin (beautiful woman)
308:illustrating one of his
2534:1 November 2012 at the
2497:Timeline of Art History
2487:Timeline of Art History
2114:McDonald, Mark (2016).
1656:Eskimo Artist: Kenojuak
1638:Sylvia Solochek Walters
1232:Famous works in woodcut
1125:José Guadalupe Posada,
1105:The Swedish printmaker
1064:Lucas Cranach the Elder
155:more precise citations.
2408:Eskimo Artist Kenojuak
1346:
1241:
1198:The Treintatreintistas
1130:
1054:
958:, 10th century, China.
905:
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551:
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315:
224:
201:
195:
64:
2465:Uglow, Jenny (2006).
2452:The Renaissance Print
2048:The Renaissance Print
2046:Landau and Parshall,
1522:Ernst Ludwig Kirchner
1337:
1158:for more on Posada's
1140:José Guadalupe Posada
1124:
1100:watercolour paintings
1042:
910:Ernst Ludwig Kirchner
908:In the 20th century,
895:Ernst Ludwig Kirchner
893:
884:printing registration
798:
706:
658:
572:Provincetown Printers
549:
503:Because woodcuts and
416:
390:
300:
186:
46:
2405:John Feeney (1963).
1643:Susan Dorothea White
1542:James Duard Marshall
1387:Carroll Thayer Berry
1226:2006 Oaxaca protests
1035:Chiaroscuro woodcuts
954:Coloured woodcut of
508:Albrecht Pfister in
188:Block Cutter at Work
104:single-sheet woodcut
2521:Library of Congress
2442:Lankes, JJ (1932).
1407:Domenico Campagnola
1285:Nuremberg Chronicle
1156:La Calavera Catrina
856:colour woodcut for
498:chiaroscuro woodcut
396:Madonna of the Fire
293:Methods of printing
2469:. Faber and Faber.
1877:Ives, C F (1974).
1741:Woodblock printing
1552:Hishikawa Moronobu
1512:Alfred Garth Jones
1492:Jacques Hnizdovsky
1347:
1250:DĂŒrer's Rhinoceros
1144:Mexican Revolution
1136:Mexican Revolution
1131:
1127:Calavera Oaxaqueña
1055:
1046:woodcut depicting
906:
834:Randolph Caldecott
809:
801:Randolph Caldecott
717:
673:
666:, from his series
552:
542:White-line woodcut
428:
411:
316:
212:Hieronymus Andreae
196:
117:Division of labour
65:
32:Woodblock printing
2491:Woodcut in Europe
2028:. 3 February 2012
1952:978-0-7141-1621-1
1896:978-0-87099-098-4
1863:978-0-19-501240-8
1822:978-0-486-20952-4
1779:The Hammer Museum
1687:Cordel literature
1517:Hussein El Gebaly
1202:Elizabeth Catlett
1059:old master prints
971:Jiaozi (currency)
696:of 1633, and the
684:and other forms.
631:Artists, notably
451:Madonna del Fuoco
443:old master prints
392:Madonna del Fuoco
216:Hans LĂŒtzelburger
181:
180:
173:
48:The Four Horsemen
16:(Redirected from
2572:
2470:
2447:
2444:A Woodcut Manual
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1633:Leopold WĂ€chtler
1593:Henriette Tirman
1583:Endi E. Poskovic
1462:Vincent van Gogh
1447:Antonio Frasconi
1362:Aubrey Beardsley
1246:
1095:Hendrik Goltzius
1027:ÄĂŽng Há» painting
1022:
1006:
986:
973:, 10th century,
967:
951:
879:
867:
813:Chromoxylography
662:in the 1830s by
610:Vincent van Gogh
474:Michael Wolgemut
447:The Fire Madonna
420:Hortus Sanitatis
405:), Cathedral of
404:
401:
363:Printing-presses
337:Prunus serrulata
322:techniques like
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1588:Hannah Tompkins
1477:Suzuki Harunobu
1457:Robert Gibbings
1382:Torsten Billman
1377:Gustave Baumann
1332:
1330:Notable artists
1273:Just So Stories
1234:
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311:Just So Stories
306:Rudyard Kipling
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594:Pierre Bonnard
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478:Erhard Reuwich
462:popular prints
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2388:. Retrieved
2384:
2374:
2362:. Retrieved
2358:
2349:
2316:
2312:
2306:
2281:
2277:
2271:
2241:(4): 26â39.
2238:
2234:
2192:
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2178:
2148:(1): 82â87.
2145:
2141:
2119:
2088:(1): 34â60.
2085:
2081:
2075:
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2062:
2047:
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2030:. Retrieved
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2016:
2007:
1995:
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1978:. Retrieved
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1915:. Retrieved
1905:
1880:
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1831:
1812:
1794:
1782:. Retrieved
1778:
1735:Wood carving
1729:SĆsaku-hanga
1717:Rubber stamp
1659:
1578:J. G. Posada
1557:Edvard Munch
1487:Damien Hirst
1437:M. C. Escher
1427:Gustave Doré
1412:Ugo da Carpi
1392:Emma Bormann
1367:Hans Baldung
1357:Mary Azarian
1338:
1320:
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1255:Emblem books
1243:Ars moriendi
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1167:Jean Charlot
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1159:
1147:
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1091:Parmigianino
1087:Hans Baldung
1080:
1076:Ugo da Carpi
1056:
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928:Portrait of
927:
917:
907:
899:Portrait of
898:
857:
854:Malo-Renault
838:Walter Crane
829:Edmund Evans
810:
805:Edmund Evans
788:
782:
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766:
760:
754:
749:
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724:
718:
713:Keisai Eisen
697:
693:
686:
681:
674:
667:
660:Odawara-juku
633:Edvard Munch
630:
622:
618:Mary Cassatt
606:Paul Gauguin
586:
553:
528:
524:
514:
505:movable type
502:
491:
459:
450:
446:
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429:
418:
395:
391:
371:
353:
342:
335:
318:Compared to
317:
309:
301:
265:
246:sĆsaku-hanga
244:
242:
238:
230:
207:
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197:
187:
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2235:Art Journal
2195:: 235â241.
2142:Art Journal
2032:18 February
1711:Printmaking
1681:Chiaroscuro
1608:Eric Slater
1603:Paul Signac
1537:J.J. Lankes
1442:James Flora
1352:Irving Amen
1339:The Prophet
1171:Mexico City
1083:printmakers
1044:Chiaroscuro
930:Otto MĂŒller
919:à la poupée
901:Otto MĂŒller
846:fashionable
690:Hu Zhengyan
678:chiaroscuro
626:lithography
602:Edgar Degas
432:Han dynasty
403: 1425
234:woodworking
190:woodcut by
153:introducing
100:block books
76:printmaking
18:Holzschnitt
2554:Categories
2446:. H. Holt.
2419:References
2385:Al Jazeera
2313:Third Text
1973:. London:
1723:Shin-hanga
1675:Block book
1654:See also:
1573:Jacob Pins
1562:Emil Nolde
1343:Emil Nolde
1319:(includes
1187:El Machete
1070:. Despite
1029:, Vietnam.
914:Die BrĂŒcke
825:lithograph
761:Murasaki-e
739:Benizuri-e
732:Sumizuri-e
570:See also:
535:monochrome
525:moku-hanga
523:is called
436:al-Andalus
409:, in Italy
280:new prints
267:shin-hanga
192:Jost Amman
136:references
84:wood grain
2493:from the
2483:from the
2341:145728815
2333:0952-8822
2298:0305-7925
2263:191506425
2255:0004-3249
2211:149103719
2162:0004-3249
1917:11 August
1628:Karel Vik
1482:Hiroshige
1209:aesthetic
1165:In 1921,
1160:calaveras
1148:calaveras
784:Nishiki-e
721:nishiki-e
664:Hiroshige
641:Modernism
470:engraving
376:Gutenberg
328:engraving
289:instead.
2565:Woodcuts
2532:Archived
2390:23 March
2364:24 March
2189:Geoforum
1784:18 March
1699:Metalcut
1668:See also
1650:Stonecut
1502:Tom Huck
1467:Urs Graf
1175:CoyoacĂĄn
1048:Playing
977:, China.
924:monotype
821:intaglio
773:Urushi-e
768:Urushi-e
756:Aizuri-e
583:Japonism
577:Japonism
561:Urs Graf
466:hatching
424:lapidary
368:Mechelen
320:intaglio
86:(unlike
2481:Ukiyo-e
1747:Ukiyo-e
1693:Linocut
1618:Utamaro
1497:Hokusai
1293:Ukiyo-e
1290:Japan (
1236:Europe
1154:). See
1013:, 1892.
997:, 1794.
995:Sharaku
975:Sichuan
912:of the
882:Colour
777:lacquer
725:ukiyo-e
709:ukiyo-e
682:ukiyo-e
559:artist
530:ukiyo-e
510:Bamberg
482:etching
383:History
332:boxwood
324:etching
287:linocut
236:tools.
149:improve
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1662:arctic
1281:prints
1129:, 1910
1081:Other
1050:cupids
989:Actor
904:(1915)
807:, 1887
651:Colour
494:Titian
348:block.
194:, 1568
138:, but
92:brayer
80:gouges
2337:S2CID
2259:S2CID
2207:S2CID
2166:JSTOR
2090:JSTOR
1755:Notes
1279:Lubok
789:kentĆ
746:Tan-e
557:Swiss
455:ForlĂŹ
407:ForlĂŹ
355:baren
108:print
70:is a
2456:ISBN
2433:ISBN
2392:2019
2366:2019
2329:ISSN
2294:ISSN
2251:ISSN
2158:ISSN
2052:ISBN
2034:2012
1982:2010
1947:ISBN
1919:2015
1891:ISBN
1858:ISBN
1837:ISBN
1817:ISBN
1786:2019
1152:Coco
1089:and
840:and
635:and
616:and
517:Iran
326:and
253:ć”äœçç»
218:and
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