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Apesar da alardeada “morte do impresso” com as mídias digitais, este artigo investiga aspectos materiais em que a impressão sobre papel, mais especificamente nos chamados impressos efêmeros, ainda exerce uma potência de significação diferenciada. Esta investigação se baseia na análise material de técnicas comerciais de impressão colorida sobre papel, que se distinguem das técnicas de impressão de massa – mais especificamente a cromolitografia no século XIX e a risografia na atualidade –, ocupando territórios distintos no universo de bens colecionáveis: a guarda de patrimônio histórico por instituições públicas e a afirmação de estilo e identidade nas autopublicações de jovens artistas e designers. Discute-se ainda as diferenças na apreciação desses impressos através de mídias digitais ou do contato direto com amostras em papel.

Despite the vaunted "death of the print" with digital media, this article investigates material aspects where printing on paper, more specifically in so-called ephemeral printed matter, still has a differentiated power of significance. This investigation is based on the material analysis of commercial color printing techniques on paper that are distinguished from mass printing techniques – more specifically chromolithography in the 19th century, and risography today – occupying different territories in the universe of collectibles: the guard of historical heritage by public institutions, and the affirmation of style and identity in the self-publications of young artists and designers. The differences in the appreciation of these printed materials through digital media or direct contact with paper samples are also discussed. A pesar de la tan cacareada "muerte de la imprenta" con los medios digitales, este artículo indaga en aspectos materiales donde la impresión en papel, más concretamente en los llamados impresos efímeros, aún tiene un poder diferenciado de significación. Esta investigación se basa en el análisis material de las técnicas comerciales de impresión en color sobre papel que se distinguen de las técnicas de impresión masiva – más concretamente la cromolitografía en el siglo XIX, y la risografía actual – ocupando diferentes territorios en el universo de los coleccionables: la guardia del patrimonio histórico por parte de las instituciones públicas, y la afirmación del estilo y la identidad en las autoediciones de jóvenes artistas y diseñadores. También se discuten las diferencias en la valoración de estos materiales impresos a través de medios digitales o contacto directo con muestras de papel. Apesar da alardeada “morte do impresso” com as mídias digitais, este artigo investiga aspectos materiais em que a impressão sobre papel, mais especificamente nos chamados impressos efêmeros, ainda exerce uma potência de significação diferenciada. Esta investigação se baseia na análise material de técnicas comerciais de impressão colorida sobre papel, que se distinguem das técnicas de impressão de massa – mais especificamente a cromolitografia no século XIX e a risografia na atualidade –, ocupando territórios distintos no universo de bens colecionáveis: a guarda de patrimônio histórico por instituições públicas e a afirmação de estilo e identidade nas autopublicações de jovens artistas e designers. Discute-se ainda as diferenças na apreciação desses impressos através de mídias digitais ou do contato direto com amostras em papel.

Submitted by Pâmela CTC/E (pamela.flegr@uerj.br) on 2021-08-24T21:12:53Z No. of bitstreams: 1 Dissertação - Tiago Andrade Fracassio - 2021 - Completa.pdf: 3306992 bytes, checksum: 42e7892a7ac58fa588c9eccafb958515 (MD5) Made available in DSpace on 2021-08-24T21:12:53Z (GMT). No. of bitstreams: 1 Dissertação - Tiago Andrade Fracassio - 2021 - Completa.pdf: 3306992 bytes, checksum: 42e7892a7ac58fa588c9eccafb958515 (MD5) Previous issue date: 2020-11-23 Fundação Carlos Chagas Filho de Amparo à Pesquisa do Estado do Rio de Janeiro - FAPERJ Chromolithographs from a Book of Hours, dating from the 19th century and belonging to the Imperial Museum in Petrópolis (Rio de Janeiro, Brazil), were studied by non- destructive analysis techniques. The objective of the work was to characterize colored lithographs in order to extract information for the purpose of authenticity of the work, identification of restoration interventions and assistance in possible future restorations. The book belonged to Empress Teresa Cristina, wife of Dom Pedro II who reigned in Brazil from 1831 to 1889. The techniques used were analysis of pigments by macroXRF, analysis of mirrored regions by image processing (texture descriptors and difference between similar regions) and investigation of images by multispectral photography (reflected infrared light and reflected ultraviolet light). The measurements by macroXRF were taken in situ, through a portable elementary mapping equipment, as well as the captures of the chromolithographic images made through a digital camera and an optical magnifier, under different lighting conditions. Through the elementary mapping by macroXRF it was possible to infer the presence of pigments golden bronze, vermilion, chrome yellow and Prussian blue, which proves that the Book of Hours is a work of the 19th century. The texture descriptors allowed to obtain information regarding the composition of the images and, in the three regions considered, the differences found were small with variations of around 15%, except for the contrast descriptors, which presented variations in the range of 18% to 39%. In the quantitative comparison of pixels, small variations in the order of 4% to 10% were observed between the regions compared. Therefore, it could be concluded that the artist was able to obtain the mirroring between the measured regions in a very similar way, given the complexity of the process of creating the chromolithographs. The results of multispectral photography by reflected light did not help in the identification of pigments, but allowed to infer that there were no restoration interventions and that no hidden paintings were found in the investigated regions. The analysis by incidence of infrared light was not effective in identifying nuances, since, in this spectral range, there was only omission of information in the images. In the incidence of radiation in the ultraviolet range, characteristic details were clearly evident, which are barely observable by the naked eye due to the incidence of visible light. Cromolitografias de um Livro de Horas, datado do século XIX e pertencente ao Museu Imperial de Petrópolis (Rio de Janeiro, Brasil), foram estudadas por técnicas de análise não- destrutivas. O objetivo do trabalho foi caracterizar litografias coloridas com o intuito de extrair informações para fins de autenticidade da obra, identificação de intervenções de restauro e auxílio em possíveis futuras restaurações. O livro pertenceu a Imperatriz Teresa Cristina, esposa de Dom Pedro II que reinou no Brasil de 1831 a 1889. As técnicas utilizadas foram análise de pigmentos por macroXRF, análise de regiões espelhadas por processamento de imagem (descritores de textura e diferença entre regiões semelhantes) e investigação de imagens por fotografia multiespectral (luz infravermelha refletida e luz ultravioleta refletida). As medições por macroXRF foram tomadas in situ, através de um equipamento portátil de mapeamento elementar, assim como as capturas das imagens cromolitográficas realizadas através de uma camera digital e uma lupa óptica, sob diferentes condições de iluminação. Através do mapeamento elementar por macroXRF foi possível inferir a presença dos pigmentos bronze dourado, vermelhão, amarelo cromo e azul prussiano, o que comprova que o Livro de Horas é uma obra do século XIX. Os descritores de textura permitiram obter informações relativas à composição das imagens e, nas três regiões consideradas, as diferenças encontradas foram pequenas com variações de cerca de 15%, exceto nos descritores de contraste, que apresentaram variações na faixa de 18% a 39%. Na comparação quantitativa de pixels observou-se pequenas variações na ordem de 4% a 10% entre as regiões comparadas. Logo, pôde-se concluir que o artista foi capaz de obter o espelhamento entre as regiões aferidas de forma muito semelhante visto a complexidade do processo de criação das cromolitografias. Os resultados da fotografia multiespectral por luz refletida não auxiliaram na identificação de pigmentos, mas permitiram inferir que não houveram intervenções de restauro e nem foram encontradas pinturas escondidas nas regiões investigadas. A análise por incidência de luz infravermelha não mostrou-se eficaz na identificação de nuances, visto que, nessa faixa espectral, houve apenas omissão de informações nas imagens. Na incidência de radiação na faixa do ultravioleta evidenciou-se, nitidamente, detalhes característicos que são pouco observáveis a olho nu pela incidência de luz visível.

Entre un antiquaire féru d’archéologie napolitaine et un imposteur, la figure de Prosper Biardot se révèle paradoxale à bien des égards : sa collection se compose de terres cuites particulièrement intéressantes provenant de Grande Grèce, et, pour un certain nombre d’entre elles notamment, d’un des premiers hypogées fouillés à Canosa (Pouilles), dit Lagrasta I. Il se fit pourtant une réputation peu flatteuse dans le milieu archéologique français en raison de ses achats inconséquents dans le domaine de l’orfèvrerie, et de ses idées, alors qu’il trouve un certain écho à l’étranger, en particulier en Allemagne, et surtout en Suisse auprès du philologue Johann Jakob Bachofen. Ses publications rassemblent en effet des idées contrastées oscillant entre des positions très novatrices sur les restaurations et des théories largement dépassées aujourd’hui sur le symbolisme des terres cuites, qui s’inscrivent dans le courant de l’époque. Son album de planches chromolithographiées est l’un des rares témoignages illustrés de ce type d’œuvres, et à ce titre régulièrement cité dans l’historiographie de la discipline. C’est le parcours et l’identité de cette personnalité ambiguë du collectionnisme du xixe siècle, contemporaine du marquis Campana, que cet article se propose d’éclairer tandis que l’analyse des sources de ses ouvrages permet de mieux comprendre le travail mené par cet amateur. Somewhere between an antiquarian keen on Neapolitan archaeology and an impostor, Prosper Biardot cut a paradoxical figure in many ways: his collection comprised particularly interesting terracottas from Magna Graecia and, for some of them, one of the first hypogea excavated in Canosa, Puglia, known as Lagrasta I. He made a not terribly flattering reputation for himself in French archaeological circles because of his inconsistent purchases in the domain of gold- and silverwork and his ideas, which found an echo abroad, particularly in Germany, and especially Switzerland in the thinking of philologist Johann Jakob Bachofen. His publications contain contrasting ideas fluctuating between very innovative positions on restorations and now outdated theories on the symbolism of the terracottas, which were part of the trends of the times. His album of chromolithographic plates is, on the other hand, one of the rare illustrated accounts of this type of work and for this reason regularly cited in the historiography of the discipline. It is the career and the identity of this ambiguous personally of nineteenth-century collecting, the contemporary of Marquis Campana, that this article sets out to illuminate while the analysis of the sources of his books allow us to understand better his work.

Franz von Hauslab is regarded as innovator of chromolithography in cartography and as originator of the principle of ‘the higher, the darker’ in the monochrome and polychrome design of height layer...

A widespread belief among scholars and connoisseurs of the Japanese color woodblock print (nishiki-e) holds that synthetic dyes were imported from the West in the 1860s, and soon came to be used for all nishiki-e colorants during the Meiji period. These “cheap imported aniline dyes” are widely described as “gaudy”, “garish”, and “strident”, and thought to stand in sharp contrast to more muted “natural” colorants that preceded them. This study calls this narrative into question through an analysis of the colorants of nishiki-e from 1860 until 1900, using surface-enhanced Raman spectroscopy coupled with micro-Raman, XRF and fiber optic reflectance spectroscopies. The results show that the introduction of synthetic dyes was gradual and selective, and that most of the customary colorants of the late Edo period continued in use. The results revealed a series of key turning points after 1860: (1) In 1864, the purple dye rosaniline became the first synthetic dye to be used in nishiki-e, at first in combination with Prussian blue for a more bluish color. From 1875, it was usually mixed or replaced with methyl violet for a stronger purple. (2) In early 1869, a dramatic and until recently unrecognized transition took place, from the longstanding use of safflower as the dominant red, to its total replacement by imported cochineal carmine. Carmine remained the primary red for the next two decades, often combined with vermillion. (3) In 1877, eosine appeared as the first synthetic red dye in nishiki-e, used alone for pink, and in mixture with carmine for red. (4) Finally, from 1889, a succession of red naphthol dyes of more striking color appeared. Just about this time, however, a tendency to more restrained use of color and more painterly effects began to emerge in nishiki-e, and with the exception of a burst of dynamic color in prints depicting the Sino–Japanese War (1894–95), the uses of strong colors in Meiji prints receded. A final key finding is that colorants were often combined, either through mixture in a bowl or on the printing block, or by two-step overprinting.

The article considers the role of foreigners in the publishing business of Moscow in the last third of the 19th - early 20th century on the example of Moscow printers E.-C. A. Lissner and A.A. Levenson, whose ancestors came to Russia from Austria and Germany. The historio-graphical review showed that the history of Moscow publishing houses and foreign printers who arrived in Russia remains beyond the scope of the current scientifi c interest. There are analyzed the stages of the development of the publishing business, it features, printing fi ndings, the specifi cs of the book market.E.-C. A. Lissner and A.A. Levenson are the brightest fi gures in Russia in the fi eld of publishing. Starting from scratch, they were able to create unique typography, in which it was possible to produce multicolour hard products, phototype table, to improve engraving, chromolithography and colour photozincography. To perform these works, they attracted specialists who were able to develop and implement new ways of printing. E.-C. A. Lissner and A.A. Levenson collaborated with the best artists of Russia helping to implement the ideas of publishing quality printed products that contributed to the aesthetic education of readers. The article reveals the importance of the activities of the two publishers of German origin E.-C. A. Lissner and A. Levenson in the development of the Russian culture (literature and art) and the popularization of scientifi c knowledge. They laid new principles of publishing and printing of illustrations, created a new trend in book production. Their activities contributed to the opening of new names in literature and art, promotion of Russian printing technology and book production to both domestic and foreign markets, development of book art and improve-ment of printing.

By 1800, national surveys had become a priority for regimes around Europe, keen to centralise government and secure territories during a period of significant political upheaval. Military requirements were paramount but the representation of relief remained woefully inadequate. Commanders, not content with simple rough impressions of relief, demanded effective representations from which absolute altitudes and gradients could be derived. However, innovative methods of relief depiction were unlikely to be spearheaded by new national mapping institutions, already committed to long-term mapping programmes. Conversely, for those independent cartographers and model makers, unfettered by the constraints that characterised national institutions, the pursuit of the optimum depiction of relief became a preoccupation verging on obsession. Inspired by early map and model makers, Swiss, German and Austrian cartographers embarked on a phase of developing more artistic, naturalistic means to create an illusion of the third dimension on the two-dimensional face of the map. Chromolithography had made possible the replacement of hachures by shading tones and the production of multicolour printed maps. As a result, a wide variety of maps appeared during the second half of the 19th century with hypsometric tints generating images of naturalistic and symbolic landscapes. Alternative and often competing methods of assigning colour in sequence were developed most notably in central Europe. This culminated in the publication of Schatthenplastik and Farbenplastik in 1898 in Vienna by Karl Peucker (1859–1940) a work that injected new life and debate into the pursuit of an optimum colour sequence for layered relief maps that would last well into the next century.This paper aims to assess the role of model making in initiating and fuelling a period of experimentation and development of relief portrayal. The increasing fascination with the natural wonders of the world combined with the growth of Alpine tourism kick started a period of private enterprise in which the production of relief models became a highly valued activity. Starting with the remarkable model of the Relief of Central Switzerland by Franz Ludwig Pfyffer von Wyher (1716–1802), through the exploits of Joachim Eugen Müller (1752–1833) (Figure 1) to the later models crafted by Xaver Imfeld (1853–1909), Simon Simon (1857–1925) and Fridolin Becker (1854–1922), this period witnessed a level of artistry and craftsmanship that has arguably never been surpassed.Opportunity is taken to assess the accuracy of one of the key models produced by Joachim Eugen Müller. This clearly demonstrates that early model making achieved standards of accuracy that were extraordinary for the time. Of course, such feats were not the preserve of European model makers. For example, readers of reports and newspaper articles from expeditions to the interior of the United States had thrilled at the photographs, drawings, sketches and maps of Niagara Falls, Yosemite Valley and the Grand Canyon. No sooner had John Wesley Powell completed his expedition to the Grand Canyon in 1874 and published a detailed report, than its true magnificence was brought to public attention through a model of the Grand Canyon constructed by Edwin Howell in 1875 (McCalmont, 2015).The nineteenth century was characterized by great endeavour and craftsmanship that fashioned some of the most remarkable and visually stunning maps ever published. This paper pulls together the various strands of this complex story into a coherent narrative and assesses the role of model makers in underpinning this ‘golden age’.

Submitted by Boris Flegr (boris@uerj.br) on 2021-01-05T19:53:56Z No. of bitstreams: 2 Helena de Barros_parcial.pdf: 846900 bytes, checksum: d634e3faf103ded9e4209950c09afc63 (MD5) Helena de Barros_ total final.pdf: 8908924 bytes, checksum: f6b7285bef2e83fb07e9fd9a843b7def (MD5) Made available in DSpace on 2021-01-05T19:53:56Z (GMT). No. of bitstreams: 2 Helena de Barros_parcial.pdf: 846900 bytes, checksum: d634e3faf103ded9e4209950c09afc63 (MD5) Helena de Barros_ total final.pdf: 8908924 bytes, checksum: f6b7285bef2e83fb07e9fd9a843b7def (MD5) Previous issue date: 2018-04-27 Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro This research deals with the strategies of color construction in a historical printing technology, the chromolithography and it s application in Brazilian commercial production. Practiced since mid XIX century through the first half of the XX century, chromolithography preceded the photochemical process of the matrix which made color separation mechanical and pragmatic, adopting four-color printing system based on subtractive color synthesis, still in use nowadays. On chromolithography, the image attributes were conditioned by the conception and elaboration of multiple lithography matrices, in a complex and empirical manual color separation process, carried out by a specific professional: the chromiste. This study begins with an overview of the problem, where the issue of color imaging reproduction and, in this context, the practice of chromolithography, in the world and in Brazil. In order to constitute the object of research, public collections available in Rio de Janeiro Arquivo Nacional and Fundação Biblioteca Nacional were resorted. In this institutions the first Brazilian chromolithographic prints were located and analyzed, as well as Brazilian products labels collections, where elaborated technical solutions were identified. The corpus of the study was formed based on these labels collections: a selection of a hundred print examples, produced from 1876 to 1919, in a variety of chromolithographic techniques. Based on the knowledge acquired on the technical research, methods of identification of the color and graphic techniques are proposed, by means of microscopic observation and registration. From these results, a first technical and conceptual comprehension of this material is proposed, discussing cultural relations between industry, design and consumption. The rescue of these historical prints takes place on the material culture field, throughout a research of ephemerals, investigating visual languages derived by technical/ productive approaches. The aim is to contribute to the history of Brazilian design field and its graphic memory as knowledge areas. The Thesis gathers information that helps researchers of these areas identify the chromolithography technique and conducts critic reflection on the color concepts practiced in color printing. Esta pesquisa trata das estratégias de construção cromática numa técnica de impressão histórica, a cromolitografia, e sua aplicação na produção comercial brasileira. Praticada desde meados do século XIX até a primeira metade do século XX, a cromolitografia antecedeu o processamento fotoquímico da matriz que tornou a separação de cor mecânica e pragmática, com a adoção da quadricromia baseada em síntese de cor subtrativa, ainda em uso atualmente. A cromolitografia se caracterizava, principalmente, pela concepção e conjugação de múltiplas matrizes de litografia num complexo processo empírico de separação manual da cor desenvolvido por um profissional específico: o cromista. Este estudo se inicia numa visão geral do problema, onde situa-se a questão da reprodução de imagens coloridas e, nesse contexto, a técnica cromolitográfica, como foi praticada no mundo e no Brasil. A fim de constituir o objeto de pesquisa, recorreu-se a acervos públicos disponíveis na cidade do Rio de Janeiro Arquivo Nacional e Fundação Biblioteca Nacional. Nessas instituições, os primeiros impressos cromo-litográficos nacionais foram localizados e avaliados, além das coleções de rótulos de produtos brasileiros, onde soluções técnico projetuais elaboradas foram identificadas. O corpus de estudo se estabelece nas coleções de rótulos, com a seleção de um conjunto de 100 impressos produzidos entre 1876-1919, ilustrando uma ampla amostragem de técnicas cromolitográficas. De posse das informações levantadas na pesquisa técnica, são propostos métodos de identificação e análise da composição de cor e técnicas gráficas destas amostras, baseados na observação e registro microscópico. A partir dos resultados desta avaliação, propõe-se uma primeira compreensão técnica e conceitual do material, discutindo relações culturais entre a indústria, o design e o consumo. O resgate deste acervo se situa na área da cultura material, através da pesquisa de efêmeros e investigação das linguagens visuais derivadas de abordagens técnico produtivas. Busca-se contribuir para o campo da história do design brasileiro e sua memória gráfica como área do conhecimento. A tese reúne informações que auxiliam os pesquisadores destas áreas na identificação técnica da cromolitografia e conduz uma reflexão crítica sobre as concepções de cor praticadas na impressão colorida.

The creation of the book The Butterflies of North America by William H. Edwards is traced in detail. Much new information is presented, derived mostly from Edwards' extensive correspondence. It was issued from 1868 to 1897 in three series (volumes) of 42 separate parts. The first volume was published by the American Entomological Society, while the second and third volumes were published by Houghton, Mifflin & Company under several different names. The 152 hand-colored lithographic plates were drawn by five artists: Shelly W. Denton, Edward A. Ketterer, Mary Peart, Daniel Wiest, and an unidentified artist under the supervision of John Cassin. Most of the resulting prints were colored by sisters Lavinia (Lydia) Bowen and Patience D. Leslie, though many additional colorists were involved. Four plates were replaced after publication; the originals and their replacements are figured together for the first time. The first volume included a synopsis of species, which Edwards intended to revise in the second volume, but abandoned in favor of a simple list of taxa. Severe monetary constraints forced Edwards to sell his butterfly collection to help finance the third volume. Complete copies of the first and second volumes were assembled and sold for many years. Revised citations are proposed for each volume and their associated publications. New biographical information about Mary Peart is provided, including her portrait.

From the spread of Renaissance humanist ideas and expansion of universities to the Reformation and the emergence of the bourgeois public sphere, the impact of the printing press on Western society ...

This paper explores the emergence of art education in the USA in the late nineteenth century. Focusing on the issue of colour perception, it traces the aesthetic tropes shared between discussions of educating students' colour sensibilities and the concurrent clinical and literary experiments with synaesthesia. It then makes the case that early twentieth-century works of ‘visual music’ often combine the notion of synaesthesia with a pedagogical impulse to uplift the senses of the viewer. The paper thus follows two parallel trends in the nineteenth century (art education and experiments with synaesthesia) that converge in the twentieth century. This multi-threaded history is crucial for understanding the ways in which the sensual effects of colour were theorized and promoted in popular and modernist media – from the cinema to abstract painting – at the turn of the last century.

Briana B. Simmons The Ethiopian Orthodox Church (EOC) has produced iconographic religious painting since the sixth century ce, but with the onset of mechanical reproduction and faster printing technologies, worshippers now have access to new types of religious images.1 Today, foreign and locally produced chromolithographic images (or color prints) depicting Christian religious figures are readily available in Ethiopia and have become one of the most popular and prevalent art forms in the country. This is due in part to their high volume but also to their variety, malleability, and relatively low price, which places them into a category of decorative and ritually important objects that most Orthodox Ethiopians desire. Images such as Figure 1, of the Virgin and Child, generally depict Biblical figures that are copied from historical Western paintings or drawings. This research note outlines how Ethiopian Orthodox Christians use these religious images and briefly addresses their effect on the construction of an Orthodox identity.2 I will also discuss how church-trained painters have responded to these images and what the influx of chromolithographs has meant for their business. These reproduced images are part of a continual process of adaptation and change in the religious practices of Ethiopian Orthodox Christians. Rather than dismissing them as kitsch or artistic degeneration, this study examines how they are used as aesthetic objects and the value they hold for the Christian faithful. For this note, “chromolithograph” refers to any color print displayed in Ethiopia that is mechanically produced in Ethiopia or abroad. This comprehensive definition includes a number of printing technologies, ranging from traditional chromolithography to more modern photo offset printing processes. The prints can be purchased for one or two birr, which is approximately 10 to 20 US cents, and they are sold on sidewalks, especially outside Ethiopian Orthodox churches. Vendors often set up open-air stalls to exhibit the images, sometimes using upturned umbrellas to easily display numerous prints. It is common for peddlers to traverse local neighborhoods on foot carrying large stacks of images for sale. The prints range in size from small, 3" x 4" cards to large posters that are several feet across.3 Several scholars have examined the use of religious and secular chromolithographs in other countries (Jain 2007, Cosentino 2005, Pinney 1997, 2004, Rush 1999), but only one general overview of chromolithograph use in Ethiopia exists (Silverman, in All photos Are by the Author

Combining images and text, marquillas cigarreras, the illustrated cigarette packaging produced in Cuba during the second half of the nineteenth century, depict a wide range of themes, including picaresque scenes of everyday life in Havana. These scenes adroitly map out the conditions of Cubanidad, or Cuban-ness. Although Cuba remained a Spanish colony until the War of Independence at the close of the nineteenth century, throughout the century Cuban nationalist sentiment rose, and cultural as well as industrial production was increasingly identified as a sign of Cuban, not Spanish provenance. Marquillas brought together the quintessentially Cuban natural resource, tobacco, and the state-of-the-art print technology, chromolithography, in a commodity that symbolically and materially represented the modern nation coming into being. In this article, I look at marquillas as sites for the production and dissemination of national identity. Particularly relevant to this are marquillas that depict scenes o...

Research in sacral wall pictures of mass production in Lithuania is a new topic that so far has been barely examined in lithuanian historiography. This study starts investigating the topic by defining the research field and presenting the same occurences from Germany, France and Lithuania. There is represented spread of this phenomenon, technique, publishing centres and the most popular iconography founded on foreign and Lithuanian historiography as well the analysis of the collection of A. Petrauskas museum.

Carol Pop de Szathmári was born in Cluj, Transylvania, on 11 January 1812. His talent for painting shone out from an early age. Being a passionate traveller, Szathmári journeyed through Europe and often crossed the Carpathian Mountains to visit Wallachia and its capital, Bucharest, where he eventually settled in 1843. An accomplished landscape and portrait painter, at ease with both watercolours and oil paints, Szathmári obtained commissions from the wealthy Wallachian boyars. Szathmári kept up constant, good relations with the successive ruling princes of Wallachia for whom he painted portraits and various other compositions. By 1848, Szathmári began to experiment with photography. The outbreak of the Russian-Ottoman War in late June 1853 saw the Romanian principalities occupied by the Russian army. In April 1854, Szathmári filled a van with his cameras and glass plates and went to the Danube to document the fighting between the Russian and Turkish armies.The result of Szathmári's bravery and hard work was a photographic album. His album, containing some two hundred images, became famous due to its presentation at the 1855 Paris World's Fair and Szathmári was awarded the Second Class Medal for his work.From that time on, photography, painting and lithography were always closely connected in Szathmári's career. In 1864 he became a member of the Société Française de Photographie in Paris and in 1870 of the one in Vienna. In 1863, he was appointed Court Painter and Photographer, a position he held for the rest of his life. In that capacity, he followed his patron, Prince Carol I, on the battlefield during the Russian-Romanian-Ottoman War of 1877, which was waged south of the Danube. Alongside martial compositions and albums, Szathmári had long been attracted by folk types and produced a large series of pictures of peasants, gypsies, postillions, merchants and artisans. He toured the fairs and the crowded streets of the town in search of picturesque types. The artist's last major work was the chromolithographic album of the themed floats which paraded the capital city at King Carol's coronation pageant, on 10-11 May 1881. Szathmári died in Bucharest on 3 June 1887.

Carol Pop de Szathmari was born in Cluj, Transylvania, on 11 January 1812. His talent for painting shone out from an early age. Being a passionate traveller, Szathmari journeyed through Europe and often crossed the Carpathian Mountains to visit Wallachia and its capital Bucharest, where he eventually settled in 1843. An accomplished landscape and portrait painter, at ease with both watercolours and oil paints, Szathmari obtained commissions from the wealthy Wallachian boyars. Szathmari kept up constant, good relations with the successive ruling princes of Wallachia for whom he painted portraits and various other compositions. By 1848, Szathmari began to experiment with photography. The outbreak of the Russian-Ottoman War in late June 1853 saw the Romanian principalities occupied by the Russian army. In April 1854, Szathmari filled a van with his cameras and glass plates and went to the border of the Danube to document the fighting between the Russian and Turkish armies. The result of Szathmari's bravery and hard work was a photographic album. His album, containing some two hundred images, became famous due to its presentation at the 1855 Paris World Exhibition and Szathmari was awarded the Second Class Medal for his work. From that time on, photography, painting and lithography were always closely connected in Szathmari's career. In 1864 he became member of the Société Française de Photographie in Paris and in 1870 of the one in Vienna. In 1863, he received the title of Ruling Prince's Court Painter and Photographer which he kept for the rest of his life. The official painter followed his patron, Prince Carol I, on the battlefield during the Russian-Romanian-Ottoman War of 1877, which was waged south of the Danube. Along martial compositions and albums, Szathmari had long been attracted by folk types and produced a large series of pictures with peasants, gypsies, postillions, merchants and artisans. He toured the fairs and the crowded streets of the town in search of picturesque types. The artist's last major work was the chromolithographic album of the symbolic carts which paraded the Capital city on 10-11 May 1881, King Carol's coronation pageant. Szathmari died in Bucharest 3 June 1887.

The economic news of the 1980s was that Japan had begun to conquer America. The Aesthetic news of the 1880s was identical. This article will examine the use of Japanese design concepts, Japanese imagery, and references to Japan itself on American trade cards from 1875 to 1890. It is concerned with a now obsolete form of advertising-the trade card-and the use of visual references to a then unfamiliar and exotic culture in promoting products and services both nationally and locally.1 "From 1873 to 1898 excess capacity in the American economy was chronic and it afflicted virtually every industry...excess capacity to mill flour, to make watches, to manufacture stoves" (Ginger 55, 57). This was a period of declining prices, with major economic depressions in the years 1873-76, 1884, and 1893-97. During 1870s, with overproduction widespread, the goal of advertising began to change "from an emphasis on providing information to an attempt to influence buyers by any means possible" (Strasser 91). The trade card was the preferred method for obtaining publicity and generating good will from the time into the 1890s. Trade cards of the later nineteenth century are individual advertisements produced on lightweight card stock, ranging in size from about the dimensions of a modern business card to approximately those of a postcard. They are almost invariably illustrated, usually by chromolithography, on one side only. The verso, and often a space on the recto as well, was left blank for the user to have this own text added by letterpress or rubber stamp. Trade cards were produced in prodigious numbers, made possible by steam powered presses, and were intended for free distribution to the general public by merchants and manufacturers, in much the same way that bookshops give away bookmarks or restaurants offer free matches today. Because they were colorful and attractive they were collected and preserved-commonly in albums-and hundreds of thou- sands have survived, making this study possible. In the last quarter of the nineteenth century, manufacturers frequently offered their products without a developed advertising plan or definable set of marketing principles. They were only beginning to see the advantages of brand names, trademarks, and visual identities for their goods. An estimated 98 percent of all trade cards are of the "stock" variety-i.e., not custom-designed for the individual user-and thus the product or service advertised often has no relationship to the image on the card (Dilg: 1). An 1889 advertising manual recommended that "when ordering in quantities exceeding twenty thousand, little additional expense will permit the chromo being specially designed; but unless a very large number be desired, the so-called stock chromos will, considering the price, do as well" (Fowler, About Advertising and Printing 103).2 Trade cards are often unsigned by the lithographing companies that produced them, and their artists or designers are almost never identified (for an exception see Fig. 1).3 The cards were issued by lithographers both famous and obscure, as single or series designs (Fig. 2), and were usually sold to advertisers through agents or middlemen, including printers and stationery stores. They were even offered directly to collectors, who sometimes referred to them as picture cards. The use of trade cards declined markedly during the 1890s, their importance as an advertising medium eclipsed by the mass circulation magazines (Strasser 165; Jay 99-101). Fowler's Publicity, a one thousand page text on advertising produced in 1899, discusses everything from newspapers and periodicals to billboards and fence painting to samples and hand-bills, but makes no mention of the trade card. Its author, who commenced his career "at the beginning of art in commercial lithography," noted that by the late 1890s lithography was "almost exclusively confined to advertising [via posters] and illustrating the higher grade of books. …

W. D. Richmond's The Grammar of Lithography (1878) is a comprehensive and instructive work on the many varieties of lithography - with all their attendant materials and instruments - described and explained in practical terms for the active participant and the amateur enthusiast alike. Richmond's Grammar should also be understood as part of a wider movement of nineteenth-century industrial disclosure, where pockets of masterly knowledge previously available to apprentices and company employees alone were being made much more widely available through impartial manuals and guides. This noble cause was intended to bring down the walls of ignorance and trade secrecy and to foster an open atmosphere of mutual understanding. In the realm of lithography, Richmond's Grammar was the first treatise to achieve this. While the work forgoes any historical or overly theoretical discussion, it does provide an excellent example of practically oriented expertise in the graphic arts.

Review of: "Thomas Moran's West: Chromolithography, High Art, and Popular Taste," by Joni L. Kinsey.

Advertising posters and gurafikku dezain in Japan, 1854-1960. The world of commercial advertising was already well organised in Japan by the middle of the nineteenth century. The printed commercial forms most frequently to be found are bills for plays and other spectacles, advertising posters and tracts. They have the same format and use the same techniques and colours as the xylographic print (nishiki e). At the same time authors and publishers of prints began to engage in commercial publicity, destined for a bourgeois public rather than a popular one. Such commercial prints lasted longer than the traditional nishiki e prints, surviving up to about 1910. Lithography was introduced to Japan only in 1872, chromolithography and offset printing becoming more widespread from 1914. The Americans played a vital role in the introduction of these new techniques. The author of the present article looks at the parallel development of other advertising forms, with the rapid growth of the newspaper press from 1870 and the appearance of advertising agencies in Tokyo and Osaka. The products concerned were generally of western origin, and the styles of the advertising images tended to follow western graphic styles. Techniques of lithographic printing, called « applied drawing », were taught at the Tokyo Fine Arts school from 1896. From the 1920s, the poster gave rise to several aesthetic and social debates in Japan, whilst techniques improved thanks to the introduction of the HB process (colour photo-engraving). The author goes on to examine the principal events which mark the history of « artists’ posters » from 1925. In 1926 the activity was sufficiently professionalised for an association of commercial artists to be formed. The inspiration was still primarily of western origin and commercial artists tried to find ways of giving their creations the same status as traditional, fine art works. The expressions « design » and « graphic design » began to appear in Japan during the 1950s., Gossot Anne. L’affiche publicitaire et le gurafikku dezain au Japon (1854-1960). In: Histoire de l'art, N°24, 1993. Arts graphiques. pp. 79-91.

Plans, Sections, Elevations and Details of the Alhambra (1836–45) was a landmark work, both in the history of architectural books and in the development of colour printing. Owen Jones (1809–74) and the French architect Jules Goury (1803–34) spent six months surveying the Nasrid palace in 1834 and Jones was to make a return visit to Granada three years later to undertake further research. From its conception to final printing Jones’ Alhambra project took over a decade to complete. This work represented a huge investment in time and, of course, money, but its successful completion was to establish the name of Owen Jones as an authority upon Moorish architecture and as a pioneer in the new technique of chromolithographic printing (Fig. 1). Jones is probably best remembered today for his encyclopaedic Grammar of Ornament (1856) but, since Michael Darby drew attention to Jones’ predilection for Islamic architectural design, the Alhambra has increasingly been seen as an important contribution to the nineteenth-century taste for the Oriental. Many questions remain, however, regarding the production of this book. Using the evidence of important unpublished letters, this article investigates the circumstances behind Jones’ unusual sidestep into the role of printer.

The term “chromo,” a nickname for chromolithography, has come to be synonymous with anything that is “fake” or “cheap” or “false.” The period in America when chromolithography served as a popular technology for reproducing the likenesses of oil paintings and water colors was also the time of the Gilded Age, those decades between the Civil War and the start of the twentieth century, which opened with the scandals of the Grant administration and closed with America's needless involvement in a war with Spain. Historians have written of the cultural backsliding during these years as a retreat from the hey day of the New England writers of 1830–1860 and from the first generation of Hudson River painters. According to conventional wisdom, it was a time of Victorian excess in all the arts of design. It was a time when appearance, not fact or truth, held center stage. It was the time of the “chromo civilization,” as it is called.

Features on the early geologic maps were illustrated by symbols, ruling, stippling, letters, and numerals. From 1775 to 1851 hand-colored maps on printed bases were the chief medium of illustration. Chromolithography began to supersede hand coloring about 1851, and the present multicolored maps are results of the development of color printing. Hand-colored maps are still made but not published. About 300 of the 375 maps mentioned were personally examined, but they represent only a small part of the thousands in existence. Maps that are outstanding because of early date, cartographic technique, important contribution to geology, advances in methodology, or some other special interest are described. Maps for all parts of the world are included in the descriptions, but most of the discussion and description is of maps of Europe and North America.