"This publication, which brings to light little-seen masterpieces from the Sheldon Museum of Art's collection, explores the three major print techniques of the early modern period: woodcut, engraving, and etching. Along the way, it suggests not only how the print revolution evolved as it spread across Europe and the British Isles, but also how it gave rise to images that are intimate and public, sacred and secular. These pictures, which transformed the everyday lives of their original users, remind us of the many ways in which print technology continues to shape our own."--Page 7.

Catalogue for the Sheldon Museum of Art's exhibition "Strange Bodies: Hybrid, Text, and the Human Form," selected and curated by Professor Alison Stewart's "History of Prints: New Media of the Renaissance" class during the fall semester of 2016 in the School of Art, Art History, & Design at the University of Nebraska-Lincoln. Each of the eleven prints offers a different understanding or take on the body. Some are grounded in the physical and social aspects of humanity, while others present the body as a site for fantastic imagination and performance. Still others reference the printed page as a "body." Whether fish, fowl, or human, the body as seen in these prints continues to intrigue us across the centuries and show that even though times change, people and their concerns do not. With contributions from John-David Richardson, Grant Potter, Grace Short, Taylor Wismer, Stephanie Wright, Claire Kilgore, Nikita Lenzo, Bryon Hartley, Ian Karss, Danley Walkington, and Taylor Stobbe.

"This volume explores the ideological and emotional richness of the body of work she produced from 1918 through the late 1980s"--Dust Jkt.

Published in conjunction with an exhibition held at The Metropolitan Museum of Art, New York, Sept. 16, 2013-Jan. 5, 2014.

"All of the 90 pieces selected from more than 350 works in the collection are presented here in full color, each accompanied by a brief discussion of the artist and his or her work by leading scholars in the field as well as authorities on the collection. The essays examine the works of sculptors represented in the Sheldon's collection, including Barlach, Brancusi, Calder, Duchamp, Moore, and Rodin, and present a concise yet comprehensive overview of pertinent scholarship that will be of value to both students and experts in the field."--BOOK JACKET.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.