In the years 1890 to 1905, Paris was swept by a craze for prints. Almost all French artists of the time experimented with lithography, etching, or woodcuts as an artistic medium. Marvellous and often colourful works of art were the result. The Van Gogh Museum holds a significant collection of more than 1,300 prints that illustrate the printmaking of this period in its full glory. The exhibition and the book will display the highlights of this print collection. Artists like Bonnard, Vuillard, Denis, Steinlen, and Toulouse-Lautrec will be represented by limited-edition prints, as well as mass-produced illustrated theatrical programmes, sheet music, books and their world-famous posters. The richly illustrated book contains a fine representative selection from the print collection. Four essays sketch the context for the printmaking craze. The book includes a detailed exposition of the major participants, graphic techniques, and forms of publication. 0Exhibition: Van Gogh Museum, Amsterdam, the Netherlands (2.2.-23.9.2012).

A history of printmaking in Paris in the first half of the twentieth century.

Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries. A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliothèque nationale de France in Paris from November 2, 2015, through January 31, 2016.

Take a journey through the world's most romantic city, traveling from color to magnificent color with this beguiling book. An orange café chair, bright blue bicycles against a fence, a weathered white door—Nichole Robertson's sumptuous photographs of the distinctive details of Paris, all arranged by color, evoke a sense of serendipitous discovery and celebrate the city as never before. At once a work of art and a window into the heart of the city, Paris in Color will surprise and delight those who love art, design, color, and, of course, Paris!

Printmaking exploded with creative energy at the end of the nineteenth century in France. Artists such as Pierre Bonnard, Edouard Vuillard, Henri de Toulouse-Lautrec, Paul Gauguin and Odilon Redon were at the forefront of the avant-garde movement to reinvigorate the applied arts through colour printmaking.Prints Abound probes the phenomenal outpouring of print publications in late nineteenth-century France. Exploring the artistic, technical, economic, commercial and cultural circumstances of 1890s Paris, Prints Abound reaches a fuller understanding of Art Nouveau, which emphasised the fusion of exquisite design with the everyday. The achievements of Bonnard are stressed and his work is represented in depth, with spirited posters, contributions to solo and collective portfolios, designs for music primers and illustrated books, and an outstanding four-panel folding screen of a fashionable street scene in fin-de-siècle Paris.Phillip Dennis Cate, Director of the Zimmerli Art Museum at Rutgers University, has written the introduction and a text on illustrated books; Richard Thomson, Chair of the Art History Department at the University of Edinburgh, discusses single-artist print albums; and Gale B. Murray, Chair of the Art History Department at Colorado College, considers music illustration.Prints Abound will be fascinating reading for print collectors and dealers, art historians and all those with an interest in this important period of French culture.

Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.

Known for its collection of French prints and posters, the Zimmerli Art Museum at Rutgers University has rich holdings of lithographs made over the course of the 1800s, including examples from lithography?s early years in Paris to iconic color posters from the 1890s. Invented around 1796, lithography introduced a new process and new opportunities for the creation and circulation of printed images. Artists, printers, and publishers embraced the new medium for its relative ease and economic advantages as compared with the established printmaking media of woodcut, engraving, and etching. Taking root in Paris around 1815 after the fall of Napoleon?s empire, the art and industry of lithography grew in tandem with the city, as it became Europe?s artistic and urban capital over the course of the nineteenth century. Lithographs played a distinct role in both documenting and advancing (and often satirizing) the various and competing art movements of the period as publishers responded to the unprecedented demand for printed images of all types.00Exhibition: Zimmerli Art Museum/Rutgers University, New Brunswick, USA (20.1. - 29.7.2018).

"The French fin de siècle (1890-1905) was the most famous period in the art of printmaking. Pierre Bonnard, Alexandre Steinlen and Henri de Toulouse-Lautrec, among others, experimented intensively with the new printing techniques, with striking and beautiful results. The greatest innovation of these artists was the way they applied their talent to every level of the market: from deluxe proofs for the elite, especially for collectors, to applied graphic work for a broader audience. The reader of the book will be welcomed into these worlds from high art to art for 'the street'. The attractively designed book will be richly illustrated with fine examples of posters, sheet music and magazine illustrations, as well as the most exclusive and luxury collector's editions. The Van Gogh Museum with its fine and broad collection of 1,800 prints is a world renowned centre of research for Van Gogh and for his times and contemporaries. Vincent van Gogh (1853-1890) is often considered to be a genius in a class of his own, an exceptional self-taught painter who paid little attention to the art world around him. In reality, Van Gogh learned extensively from others, exchanged ideas with his contemporaries, and often made use of prevailing methods and techniques to hone his skills. The culmination of an extensive research project undertaken by the Van Gogh Museum, this extraordinary book explores the workmanship behind his artistry. Essays address how he practiced his skills and adopted various sketching and painting techniques; acquired information about materials; learned about the physical characteristics of canvasses, paint, paper, chalk, and other materials; and how he approached working on paper and canvas. Showing his work alongside that of other artists demonstrates the degree to which he followed examples set by his contemporaries. Alongside the examination of Van Gogh's working methods, contributors look at the work and research of modern conservators." -- provided by publisher.

The first book-length presentation of Roger Chartier's work in English, this volume provides a vivid example of the new directions of cultural history in France. These essays probe the impact of printing on all social classes of the ancien regime and reveal the surprising range of ways in which texts and pictures were used by audiences with different levels of literacy. Professor Chartier demonstrates that those who attempted to regulate behavior and thought on behalf of church or state, for example, were well aware of the wide influence of the printed word. He finds fascinating evidence of fundamental processes of social control in texts such as the guides to a good death or the treatises on norms of civility, rules that originated at court but that were eventually appropriated in various forms by society as a whole. Essays on the evolution on the fete, on the cahiers de doleances of 1789, and on the early paperback genre known as the Bibliotheque bleue complete the picture of what people read and why and of what was published and what influenced the publishers. These essays offer a critical reappraisal of the complex connections between the new culture of print and the oral and ritual-oriented forms of traditional culture. The reader will discover essential patterns of the cultural evolution of France from the sixteenth to the eighteenth centuries. Roger Chartier is Director of Studies, Ecole des Hautes Etudes en Sciences Sociales in Paris. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.