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Egyptian archaeologists used different terms to express the accuracy and ingenuity of ancient Egyptian artists' work in conveying the truth they witnessed and transforming their artwork into an accurate reflection of their life. Using eight examples of writings in ancient Egyptian art clearly showed that the term portrait accurately depicted artwork in ancient Egypt and the strict religious rules that artists adhered to. [ABSTRACT FROM AUTHOR]

The print The Tree of Human Life (Arbor Humanae Vitae) is distinguished by its size and rich textual and iconographic material. It combines several iconographic themes – the tree of life, a comparison of a rich man’s and a poor man’s life based on the text of the New Testament (Lk 16, 19-31), and the themes of death and eternal life. These themes are intertwined and related to separate periods of human life (birth, life, death and eternal life), and the engraving itself is embellished with numerous quotes from the Holy Scripture. In total, the copper engraving has a hundred (100) inscriptions-quotes, which expand its visual part and are grouped semantically, while the right and the left sides of the engraving are connected according to the principle of opposites. Though the number of quotes is incredibly large, the artist successfully “dealt” with this task, creating a relatively harmonious composition, even though in some places the inscriptions infringe on the visual part of the illustration or overshadow it. On the other hand, the amount of the inscriptions shows that the author of the engraving, Mikołaj Krzysztof “the Orphan” Radziwiłł, was well versed in the Holy Scripture and arranged them consistently, bringing out the theme of earthly life relevant for that time, and introducing a vision of eternal life. The iconographic analysis of the artwork that has barely caught the attention of Lithuanian art researchers shows its relation to the poetic work The Rise of the Radziwiłłs (Aulaeum Radzivilaeum,1604) by Mathias Nevius. It is one of the very few examples in the history of Lithuanian art when the main idea of the artwork and the name of the author of its drawing/engraving? (Tomasz Makowski (1575–1630)) is conveyed through the poetic word. This engraving created in Antwerp illustrates the cooperation between the author of the idea, magnate Mikołaj Krzysztof “the Orphan” Radziwiłł, and his engraver Theodoor Galle who embodied his client’s vision. [ABSTRACT FROM AUTHOR]

Ranging from William Blake to John Ruskin, Siegel presents us with instances in which the lack of access to the physical original provided a powerful source of creative and literary inspiration. Recovering and highlighting such mediations add fuel to the revisionist argument against the rise of artistic autonomy and formalism, as Siegel questions narratives that privilege the "fantasy of direct, unmediated, entirely personal encounters" with art (148). In part III, "Things, Personally", Siegel analyzes responses by Ruskin and Pater to artistic display. [Extracted from the article]

Since 2008, the Melville Society Cultural Project has been acquiring original artworks inspired by Melville's writings for the Melville Society Archive at the New Bedford Whaling Museum. Limited to works on paper that can be stored in a flat file provided by the Research Library of the Whaling Museum, the Archive has nevertheless assembled a rich and diverse body of work that includes artist books and paper cuts, engravings and mixed media prints, and watercolor, charcoal, and mixed media drawings. Each of these artworks relates specifically to words or works by Melville visible on its surface or alluded to in its title. In each of these works, the white surface upon which the words or shapes were painted, printed, drawn, embossed, or erased is an active interpretive ingredient. The Archive artists whose works are discussed and reproduced here are from Greece, France, England, Canada and the states of Massachusetts, New York, Ohio, Kentucky, and California. [ABSTRACT FROM AUTHOR]

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Graphic artists - particularly engravers, specialize in well-established centres which operate in the spirit of the local area and bring into their works these influences of the technical and spiritual environment in which they were formed. The era of solitude in art has passed, being ended by strong personalities who interact in workshops or in exhibition premises. In this way, an excellent communication environment is created, which does not lead to group adhesions for public success purposes, but ensures quality by stimulating creativity. The term of "graphic art" encompasses various techniques of expression, some with unique nature, others reproducible. So, also the exhibitions are specialized in drawing, engraving and graphic art displays, and generally all graphic artists have access to such events. The willingness to take part in certain exhibition displays influences the undertakings of artists in terms of technique, format and size of the pictures. In certain catalogues, rectangular pictures are at advantage, in other the square-shaped ones, or the monochromatic or polychromatic ones. Artists who regularly take part in such exhibition displays are well aware of these differences and adjust their work in order to create an image of themselves as good as possible in these prints which are published for each event. [ABSTRACT FROM AUTHOR]

The article features two art catalogues including "Early Netherlandish Engraving 1440-1540," by Ursula Mayr-Harting, and "Graveurs en taille-douce des Anciens PaysBas 1430/1440-1555 dans la Collection Edmond de Rothschild," by Pierrette Jean-Richard. These catalogues contains information on the art exhibition featuring the works by the mostly anonymous craftsmen considered to the first Netherlandish engraving. Moreover, they also contain brief biographies of the engravers and short entries for each of the engravings, drawings and supplementary objects in the exhibition.

The article presents several art catalogs of artist Paolo Bellini. "Umberto Boccioni: Catalogo ragionato delle incisioni, degli ex libris, dei manifesti e delle illustrazioni," contains the artworks displayed at the Milan, Italy Museo delle Arti Decorative from January 14 - April 10, 2005, which is the most detailed publication to appear on the artist's print. Most of his catalogs are etching, engraving and a lithograph of uncertain attribution that rejected the works of Boccioni. It described the different states and connections between the print under consideration with drawings and other works by Boccioni.

The article focuses on the life and works of Spanish orientalist Benito Arias Montano who is responsible for assembling the collection of 7,000 prints on behalf of King Philip II by which 36 bound albums are preserved in the library at the Monastery of the Escorial in Spain. Accordingly, Montano was one of the most influential figures from the period because of his close personal and professional relationship with the king. Moreover, he was influential in introducing engravings to Spain and clearly appreciated their value in collecting such impressive print in the sixteenth century.

The article focuses on the life and art works of Paolo Manaresi. It is stated that Manaresi celebrated his centenary existence as an artist through an exhibition at the Museo Morandi in Bologna, Italy which features a selection of 64 etchings drawn from the collection of more than 400 plates from his estate. Manaresi was famous for haunting and nocturnal views of semi-ruined or tumbledown buildings in the suburbs of Bologna. He was regarded as one of the significant Italian etchers of religious subjects of the 20th-century.

The article presents the exhibition catalogue titled "Albrecht Durer Druckgraphik. Eine Auswahl aus den Bestanden der Staatlichen Graphischen Sammlung Munchen," by H. W. Rott. The catalogue illustrates a small selection of 50 Dürer woodcuts and engravings from the rich collections of the Staatliche Graphische Sammlung in Munich, Germany on April 3-June 7, 1998. It is indicated that the exhibition was intended to draw attention to fine early impressions of Durer's major prints in the collection and to presents the various phases of his development as a graphic artist.

The article provides information on the exhibition "Women at Work, Men in Labour: Work and Image in the French Revolution," curated by Valerie Mainz, at the Gallery of the University of Leeds in England on April 20-May 23, 1998. The exhibition will feature engravings from the collections of Le Musée de la Révolution Française. It will follow after a more general conference entitled "Work and The Image" to be held on April 17-19, 1998. Contact information for the exhibition is offered.

The article focuses on the catalogue "Shop Talk: Studies in Honor of Seymour Slive, Presented on his Seventy-fifth Birthday" which contains no less than 69 essays on a bewildering variety of topics. Author Clifford S. Ackley writes a book "A Rediscovered Proof of a Rembrandt Etching" which is presented at the Baltimore Museum of Art wherein Ackley recommends that the freshly printed impression should be placed on the back of the plate that printed it. However, author Marjorie B. Cohn has discovered cases of Retroussage in Cranach's "Penance of St. Jerome" wherein the plate was engraved in 1509 and was reprinted towards the end of the sixteenth century.