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This study investigates the noticeability of stencil prints containing various graphic elements in İstanbul, Turkey. A designated route was selected, and all stencil applications along this route were systematically documented. A total of 108 distinct stencil prints were identified and recorded, along with their corresponding locations. Eleven volunteers walked the route and completed an online questionnaire. The findings showed strong correlation between the frequency and recall of stencil prints only if they incorporate iconographic elements in addition to typographic elements. No correlation has been found between the average size of stencils and recall. Stencil prints with visual elements or a combination of visual and typographic elements were more likely to recalled than those with only typographic elements. These observations align with human cognitive architecture, suggesting that stencil prints connecting with existing information schemes are easily noticed and retained. [ABSTRACT FROM AUTHOR]

The article focuses on the reproduction, sale, and circulation of prints and portraits of King Fernando VII in New Spain during 1808-1809. It delves into the societal reactions to these images, particularly a controversial print that sparked a complaint from a local priest, who found its representation of the king problematic.

The altarpiece of the Passion of Christ preserved in the Evangelical church in Sibiu, created in 1519 by a skilful artist, Simon Pictor, using extensively the prints of Dürer and Altdorfer, represents one of the most spectacular surviving artworks of the Renaissance in Transylvania. Its subsequent transformation in 1545 and 1701 certainly enhanced its historical significance. The restoration of the artwork in the 1980s brought back to light very significant details: the dating of the original artwork (1519), two coats of arms hinting to the patronage, and a part of the genuine style of master simon. The identification of the sinister coat of arms, thus the one in the inferior heraldic position, as belonging to Johannes Lulay (royal judge and administrator of the royal mint of Sibiu) constituted the basis of extensive incursions in the patronage of this remarkable altarpiece. However, an important question remained unsolved: who could have been the other patron or commissioner of the altarpiece? As the preeminent position of the coat of arms (on the heraldic dextra) clearly indicates, this was an individual even higher in the hierarchy as Johannes Lulay himself. The assumption of the study is that this prominent patron was Paulus de Tomor/Tomori Pál. He remained in the Hungarian national consciousness as the heroical leader of the army in the „Mohácsi csata" of 29 August 1526, a critical turning point in the history of the state. This study contributes to the reveal of parts of his "Transylvanian biography," his allegiances and political network in situ before he left the region, his patronal endeavours, and last, but not least, it discloses his real (and tinctured) coat of arms. At the same time, the great altarpiece of the Passion in Sibiu recovered another piece of its complex content, by the identification of the main patron (or, rather, the more honourable patron) in the person of Paulus de Tomor. Last, but not least, this study asserts that three of the characters depicted in the scene of the Lamentation over the dead Christ on the predella are in fact crypto-portraits of Johannes Lulay, his wife Clara Thabiassy, and his partner and superior Paulus Tomori. [ABSTRACT FROM AUTHOR]

The article discusses the use of computer vision in analyzing the material nature of art. Topics mentioned include the importance of understanding how artworks are made and the inspirations of artists, the examination of surface textures of photographic prints, and the photomechanical reproduction of images.

Though Douglas Huebler is most well-known for his photo-conceptualist works, this article explores how the artist innovatively employed another medium: the limited-edition print. While early chroniclers of Conceptual art often emphasized the artworks' resistance to being bought and sold, I argue that Huebler created limited editions intended specifically for the collector's market, using the medium as a conceptual tool to reshape the relationship between artist and collector. The structure of the limited edition both prompted Huebler to conceive of art collecting as a collective endeavor, with each owner of the edition a node in an interconnected network, and endowed the artist with the ability to authorize impressions as authentic and inauthentic. In a moment when works of art were increasingly treated as financial assets, the limited-edition print provided Huebler with a vehicle for questioning the nature of ownership, authorship, and value. [ABSTRACT FROM AUTHOR]

C. R. Leslie's influential biography of John Constable highlighted that his friend's artistic strengths stemmed from his unprecedented geographical "confinement." The unpublished draft preface, however, compared Constable with a "voyage of discovery." Attending to Leslie's conflicting images of confinement and remoteness enriches our understanding of how Constable's rhetorical preoccupation with the local was a response to his place within expanding global artistic, social, and economic networks. His conception of the English landscape was constructed against a background of exploration, colonization, and international commercial expansion, the negotiation of these realities animating his paintings, prints, and public theorizing. [ABSTRACT FROM AUTHOR]

The manuscript copy of Earl Rivers' Dicts and Sayings of the Philosophers extant in London, Lambeth Palace Library MS 25, produced for the King Edward IV and the royal family shortly after the issue of Caxton's first edition of the work, preserves a version of the text that is traditionally described as presenting a still imperfect review, which would be completed three years later with the second edition. However, a collation with the prints, however, shows that the revision is much more careful and exhaustive than previously hypothesized; apart from prompting a redefinition of (at least part) of the textual tradition of the Dicts, this also lends support to Rivers' direct involvement in the making of this manuscript, which would become the major manifestation of his role as patron and man of letters in Edward IV's court. [ABSTRACT FROM AUTHOR]

During his pacification of France after the Wars of Religion, Henri IV savvily made use of print in order to legitimize his rule. Portraiture was a particularly important genre. Working with printmakers, Henri commissioned many engravings of himself in a popular three-quarter bust-length oval composition against a dark background. Rather than portraying Henri in a classicizing or mythological guise, these prints depict the king as himself; moreover, these works are notable for their highly refined burin technique and their meticulous rendering of the monarch’s physical features and costume. This article investigates how these portrait prints of Henri, in their attentive treatment of royal corporeality, employed newly introduced Netherlandish engraving techniques and modes of representation to engage with traditional legal discourse surrounding the princely body. As a central part of Henri’s artistic program, these portraits sought to address pressing political issues concerning the royal body, such as legitimacy and succession. [ABSTRACT FROM AUTHOR]

This essay examines the Artists' International Association 1951 Lithographs, a series of prints produced to mark the Festival of Britain. It argues that these works, like others from the period, have received limited art-historical attention due to the dominance of a teleological narrative whose values are rooted in subsequent art movements. It proposes an alternative, 'intermodern' framing that emphasises continuity with pre-war ideals of democratising art ownership, and encourages historically informed analysis of the series' images. In line with recent scholarship on the Festival of Britain, the interpretations offered show the series projecting an idea of Britain as harmonious, egalitarian and optimistic, in a way that supported the Labour government's programme of social democratic reform. However, some images are also understood as manifesting ideological division and class conflict, as well as late imperial anxiety, in a way that ran counter to the Festival's conceit of national harmony. [ABSTRACT FROM AUTHOR]

The paper studies the problem of the unification of the liturgical books in the Basilian monasteries of the Lviv eparchy in the second half of the 18th century. Research concentrates on the problem of Zamość council resolution implementation by analyzing the ?church books? in the monasteries of Basilians. Investigating the ?book lists? from inventory descriptions and protocols of visitations allows to trace changes in the monasteries concerning the ?church books? as it was fixed in the documents, a major part of which used for this research are from the Lviv archives. Among the main indicators of a certain liturgical tradition are the texts of the Liturgicon and the Euchologion. In the second half of the 18th century, the presence of Univ and Pochaiv Liturgicon and Euchologion was selective since we do not have data for all decades for all monasteries. At the same time, such an analysis allows tracing a clear tendency - the full-fledged unification of liturgical literature in Basilian monasteries can be noted at the start of the 1760s. [ABSTRACT FROM AUTHOR]

The article deals with the Cyrillic early printed books and one-sheet prints of printing houses of Univ and Pochaiv monasteries (the middle of 17th-18th centuries) from the depository of V. Vernadskyi National Library of Ukraine, which were described for the scientific catalogues. During the copy-by-copy research of Univ and Pochaiv early printed books, many one-sheet editions and editions without titles and source data were discovered, catalogued for the first time, and included in the chronology of the Ukrainian Cyrillic printing. All findings are displayed in the article. Letter by Varlaam Sheptyckyi and counterfeit Univ editions of Euchologions are among them. Univ and Pochaiv publications form an important part of Ukraine's historical and cultural heritage. [ABSTRACT FROM AUTHOR]

The "dematerialization" thesis has long animated studies of conceptualism. Stemming from Western social formations and information theory, it is dialectically related to cybernetic theories from East Germany that cast information, labor, and material as inseparable. This essay draws on these understudied theories to frame Ruth Wolf-Rehfeldt's typewritten prints in terms of concrete conceptualism, which mediates the material and the informational via transnational mail art networks and electronic surveillance infrastructure. Ultimately her work reveals a complex picture of Cold War culture in which informational imaginaries coalesce across geopolitical lines. [ABSTRACT FROM AUTHOR]

Copyright of Storia e Regione is the property of Studienverlag GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

On 8 September 2022, the American artist Frank Stella launched a series of twenty-two digital art works minted as Non-Fungible Tokens (NFTs) in collaboration with Arsnl, the in-house platform by the Artist Rights Society (ARS). Titled Geometries, each "package," included the NFT that would affirm ownership and the corresponding geometric model designed by Stella in JPG (image), MP4 (video), SLS (3D printing), GLB (virtual reality and model manipulation), and USDZ (augmented reality). This range of digital formats alludes to two of Stella's innovations in this space: the license to remix and manipulate his models, and the ability to 3D print Geometries at any color, scale, and material. Taking Stella's foray into the NFT-space as a starting point, my article focuses on an emergent trend by artists engaging with Web3: the effort to bridge the physical and the digital by giving tangible form to NFT artworks and what this suggests for the future of digital materiality. The paper at its core seeks to examine the relationship between the physical referents to NFTs at the very moment when new media returns to historical forms. [ABSTRACT FROM AUTHOR]

The article focuses on a gathering organized by Ralf Plenz and the Hamburg Authors Association in Hamburg-Altona, where attendees explored bibliophilic book editions and discussed the definition and appeal of bibliophilia. Topics included a presentation by Plenz on the evolution of the printing industry, emphasizing the transition from typesetting to offset printing and the preservation challenges of digital versus traditional print media.

The publication of Sino-Japanese acupuncture textbooks and the production of acupuncture mannequins and charts became necessary components of the appropriation and dissemination of the channels theory in Tokugawa Japan (1603-1868). However, very little is known about its implementation in clinical practice. There is also scant information on why and how often patients visited acupuncture specialists, or what treatment they received. The casebooks of Nakashima Yūgen's 中 島友玄 (1808-1876) daily practice add an important perspective, hitherto neglected, to the history of late Tokugawa period acupuncture practice. In this article, I begin by examining the changing medical environment of Tokugawa Japan from the late seventeenth century, focusing on the vernacularization of medical knowledge and the new concern for clinical practice as a source of knowledge. In conjunction with biographical information, I then reconstruct Nakashima Yūgen's day-to-day acupuncture practice focusing on the data within five of his acupuncture casebooks, and discuss how the theoretical knowledge related to the channels theory that circulated in print during the Tokugawa period translates into his clinical practice. [ABSTRACT FROM AUTHOR]

This article introduces the Partnership for Shared Book Collections, a federation of monograph shared print programs. Collaboration of programs at the network level allows for: Reducing the cost of retaining the scholarly record through shared distribution of commitments; De-duplicating efforts; Developing and promoting evidence-based best practices; Increasing the effectiveness of communication with end-users and funders; Tackling large-scale projects and research that are out of reach for individual shared print programs. This shared stewardship of collection is critical as local resources are depleted due to the COVID-19 pandemic and access to print for digitization increases. [ABSTRACT FROM AUTHOR]

In the eighteenth century, engraved topographical views were particularly successful: by providing images of urban areas, they served as a medium for geographical knowledge in the same way as travel literature and cartography. In the second half of the century, the Dijon-born Jehannin de Chamblanc (1722–1797) put together a collection of almost 1,400 city views to form a visual inventory of contemporary urban Europe. His portfolios contained images of varying nature and quality, in which the criterion of aesthetic quality does not seem to take precedence. This article examines the collector’s acquisition and organisational strategies, examining the value he placed on these images.

The intensive use of lamination technology for the decoration of printing prints made by various printing techniques, as well as a wide range of films, require solving an urgent problem – optimization of influencing factors to ensure the quality of laminated products. The objects of research were prints of inkjet and laser printing on paper, photo paper, and cardboard. A glossy film based on bio-oriented polypropylene BOPP was used for lamination. Studies of densitometric indicators of prints after lamination confirmed an increase in optical density by 0.28 units. This is especially true for inkjet prints. However, after lamination, all digital prints showed a tendency to improve colorimetric characteristics, namely an increase in the brightness of CMYK colors. The relationship between the technological regimes of lamination (speed and temperature) and the strength of the laminates, estimated by breaking and pressing forces, was established. To describe the dependence of the laminate strength on the temperature and speed of lamination, polynomial models were built that reproduce the values of the breaking and pushing forces of the laminate with satisfactory accuracy. The selected algorithm for calculating the parameter values of these models is based on the application of the Chebyshev approximation of the functions of many variables. The optimization models built will allow, if necessary, for making corrections in the technological process of laminating printing prints to ensure the predicted required quality and strength of laminates. [ABSTRACT FROM AUTHOR]

Research on binding wastepaper has a long tradition in Poland, dating back to the 1820s, and the result is the discovery of fragments of many valuable manuscripts and prints. This article is devoted to the discoveries made, among others, by Władysław Nehring, Kazimierz Piekarski and Anna Lewicka-Kamińska, the fruit of which were previously unknown editions of the popular prayer book Hortulus animae, found and preserved only in the fragments they discovered. The most groundbreaking was Nehring's find, thanks to which eight pages of the first Polish edition of Hortulus were published, but the importance of the remaining ones cannot be overestimated. It is noteworthy that out of eleven (certain and highly probable) editions, dating back to the first half of the 16th c., as many as six are known only thanks to single sheets extracted from their bindings. [ABSTRACT FROM AUTHOR]

In this essay I undertake a speculative reading of two lithographic prints made by the Mexican artist José Clemente Orozco during his second and longest stay in the United States, between 1928 and 1934. The first and last prints he made during this sojourn both represent spectacles of performance and pain associated with the public life of Blackness. Using affect theory to read the formal and iconographic cues in these prints, I suggest that they reflect the artist's complex relation with the U.S.-American "color line." Rather than assuming Orozco's images reflect a White subject position, I explore the ways they intimate what the performance studies scholar José Esteban Muñoz theorized as a "sense of brown." [ABSTRACT FROM AUTHOR]

This article proposes to investigate how the reproduction of images impacted the conditions for the dissemination of scientific knowledge, based on strategies of representation and visual communication. As historical techniques of image reproduction, it is understood here the manual engraving of the matrix (i.e., xylography, chalcography and lithography) that preceded the photomechanical processes until the end of the 19th century. As a case study, the research was conducted by visual representations of the bird-of-paradise - an exotic bird, originating from islands in Southeast Asia, inaccessible to Europe at the time - addressing how it makes itself known to a wider audience, through printed images. Questions related to the modes of visual representation and graphic techniques will be addressed as fundamental attributes for understanding the theme, discussing their different languages, characteristics, limitations and potentialities for the domain and acquisition of knowledge mediated by information design. [ABSTRACT FROM AUTHOR]

The eighteenth-century actress Mrs Frances Abington left a legacy of images of herself, both as a woman of fashion and as a popular comedienne. At the height of her career in the mid-century, English society was experiencing accelerating changes in communication, both through printed media and imagery. Abington made full use of the popularity of the new public exhibitions and the growing market for printed images to actively promote herself to her supporters. This article places her in the context of mid-eighteenth-century London theatre and examines how she used imagery in the creation of a public persona. [ABSTRACT FROM AUTHOR]

The mutability and physical perfectibility of animal bodies was a scientific and aesthetic preoccupation in nineteenth‐century France, channelling anxieties about class, race and national identity into projects of breeding domestic animals. This essay explores how the animal painter Rosa Bonheur figured an imagined agricultural superabundance through depictions of both European and 'exotic' imported bovines. The cattle that so often functioned throughout art history as illustrated zoological specimens or landscape staffage emerge in these portrayals as central protagonists rich in fur, fat, and muscular force. The seemingly anodyne cow thereby became symbolically charged, associated with both capitalist modernization and pastoral idyll. [ABSTRACT FROM AUTHOR]

The altarpiece of the Passion of Christ preserved in the Evangelical church in Sibiu, created in 1519 by a skilful artist, Simon Pictor, using extensively the prints of Dürer and Altdorfer, represents one of the most spectacular surviving artworks of the Renaissance in Transylvania. Its subsequent transformation in 1545 and 1701 certainly enhanced its historical significance. The restoration of the artwork in the 1980s brought back to light very significant details: the dating of the original artwork (1519), two coats of arms hinting to the patronage, and a part of the genuine style of master simon. The identification of the sinister coat of arms, thus the one in the inferior heraldic position, as belonging to Johannes Lulay (royal judge and administrator of the royal mint of Sibiu) constituted the basis of extensive incursions in the patronage of this remarkable altarpiece. However, an important question remained unsolved: who could have been the other patron or commissioner of the altarpiece? As the preeminent position of the coat of arms (on the heraldic dextra) clearly indicates, this was an individual even higher in the hierarchy as Johannes Lulay himself. The assumption of the study is that this prominent patron was Paulus de Tomor/Tomori Pál. He remained in the Hungarian national consciousness as the heroical leader of the army in the „Mohácsi csata" of 29 August 1526, a critical turning point in the history of the state. This study contributes to the reveal of parts of his "Transylvanian biography," his allegiances and political network in situ before he left the region, his patronal endeavours, and last, but not least, it discloses his real (and tinctured) coat of arms. At the same time, the great altarpiece of the Passion in Sibiu recovered another piece of its complex content, by the identification of the main patron (or, rather, the more honourable patron) in the person of Paulus de Tomor. Last, but not least, this study asserts that three of the characters depicted in the scene of the Lamentation over the dead Christ on the predella are in fact crypto-portraits of Johannes Lulay, his wife Clara Thabiassy, and his partner and superior Paulus Tomori. [ABSTRACT FROM AUTHOR]

Copyright of Studia Histórica: Historia Moderna is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Historia (07169108) is the property of Universidad de Concepcion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

After the Battle of Mohács and the partial stabilisation of social conditions in Hungary in the second half of the 16th century and in the 17th century, the Hungarian Empire, the number of printed presses increased rapidly, and they became the most important contemporary medium for the dissemination of information and culture. The content of some of them, however, raises doubts about the authenticity of the data - in some cases, objective reality had to give way to the individual client's individual intent and requirements. Several gave credit to members of families that played only a marginal role in the society of the time. Unique evidence of the effort to declare the antiquity of a family and its establishment among the social elite are the printed genealogies, which construct a "new" family history even at the cost of deliberate misrepresentation. In the present paper, using the example of the work Trophaeum Nobilissime ac Antiquissimae Domus Estorasianae (1700), commissioned by Pavel Esterházy, we discuss the hitherto completely overlooked phenomenon of deliberate mystification associated with the graphic representation of both real and fictitious ancestors. How, then, do the representative aristocratic garments on the pages of Trophae differ from the real fashion of the period? What did the authors draw on when depicting the individual representatives of the family? On the basis of a precise analysis, we seek to outline the creation of the final product; at its beginning was a deliberate stylisation characteristic for the portrait genre of the period, which in an attempt to create the idea of archaic clothing, essentially gives way to artistic manipulation. [ABSTRACT FROM AUTHOR]

The present study offers a comparative evaluation of the performance of different AI-based digital tools for handwritten text recognition (HTR) on historical manuscripts and prints. The focus is on generic models capable of transcribing a range of texts in a similar script. The training dataset for these comprises Old Cyrillic ustav and poluustav manuscripts, on the one hand, and early Glagolitic printed books, on the other. We give an overview of the performance statistics for the HTR platforms Transkribus and eScriptorium as well as for the command-line tool Calamari. In each case, we additionally offer a close, qualitative analysis of select examples in order to convey a sense of the models' real-world performance. In this way, our study supplies comparative data on the respective capabilities of these technologies that ought to be of interest to scholars working with them in digital humanities projects. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on silhouette-ghost prints' allusions to the hidden sources of Auguste Edouart's silhouette are integral to understanding their popularity and their use of the silhouette form. It mentions silhouettes dramatize the middle-class's process of assimilating with the art world of the cultural elite while still attempting to retain their own taste and agency. It also mentions silhouette-ghost prints' excavation of sources in Edouart's work.

Prints and paintings that celebrate the conversion of Indigenous peoples to Christianity can be perceived as "spiritual mining" in light of an underlying extractive ethos that structured the colonial enterprise. This article discusses seventeenth-century artworks commissioned by the Augustinian Order in Peru, which equated evangelization with the mining of precious minerals. Analysis of the artworks paired with a close historical reading of the book of Job identifies an agenda that objectifies Indigenous souls as treasure in order to normalize gestational events in global capitalism—the extraction of mineral resources from American lands and exploitation of Indigenous labor. [ABSTRACT FROM AUTHOR]

On 8 September 2022, the American artist Frank Stella launched a series of twenty-two digital art works minted as Non-Fungible Tokens (NFTs) in collaboration with Arsnl, the in-house platform by the Artist Rights Society (ARS). Titled Geometries, each “package,” included the NFT that would affirm ownership and the corresponding geometric model designed by Stella in JPG (image), MP4 (video), SLS (3D printing), GLB (virtual reality and model manipulation), and USDZ (augmented reality). This range of digital formats alludes to two of Stella’s innovations in this space: the license to remix and manipulate his models, and the ability to 3D print Geometries at any color, scale, and material. Taking Stella’s foray into the NFT-space as a starting point, my article focuses on an emergent trend by artists engaging with Web3: the effort to bridge the physical and the digital by giving tangible form to NFT artworks and what this suggests for the future of digital materiality. The paper at its core seeks to examine the relationship between the physical referents to NFTs at the very moment when new media returns to historical forms.

With the threat of a triumphant Catholicism ever-present in the background, the 1620s saw the Puritans committed to a strong pamphleteering effort directed against the pro-Spanish policy of James VI/I. They reveal the affirmation of a new phenomenon, a political Puritanism that adopted an offensive strategy of communication through print and image.