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Relief printing technique

For the origins of the technique, development in Asia, and non-artistic use in Europe, see Woodblock printing. For the related technique invented in the 18th century, see Wood engraving.

Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away comport no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain (unlike wood engraving, where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the apartment surface merely not in the non-printing areas.

Multiple colors can be printed by keying the paper to a frame effectually the woodblocks (using a different block for each color). The art of carving the woodcut can be called "xylography", but this is rarely used in English language for images lone, although that and "xylographic" are used in connection with block books, which are small books containing text and images in the same block. They became popular in Europe during the latter one-half of the 15th century. A single-canvass woodcut is a woodcut presented as a unmarried image or print, as opposed to a book illustration.

Since its origins in Red china, the practice of woodcut has spread around the world from Europe to other parts of Asia, and to Latin America.^[ane]

Sectionalisation of labour [edit]

In both Europe and Eastward Asia, traditionally the creative person but designed the woodcut, and the block-carving was left to specialist craftsmen, called formschneider or block-cutters, some of whom became well known in their own right. Among these, the best-known are the 16th-century Hieronymus Andreae (who also used "Formschneider" as his surname), Hans Lützelburger and Jost de Negker, all of whom ran workshops and also operated equally printers and publishers. The formschneider in turn handed the block on to specialist printers. In that location were further specialists who made the blank blocks.

This is why woodcuts are sometimes described past museums or books as "designed by" rather than "past" an creative person; simply almost authorities do not employ this distinction. The partitioning of labour had the advantage that a trained artist could arrange to the medium relatively easily, without needing to learn the use of woodworking tools.

There were various methods of transferring the artist'due south drawn blueprint onto the cake for the cutter to follow. Either the drawing would be made directly onto the block (often whitened first), or a drawing on paper was glued to the block. Either mode, the artist's drawing was destroyed during the cutting process. Other methods were used, including tracing.

In both Europe and East asia in the early 20th century, some artists began to practise the whole process themselves. In Japan, this move was chosen sōsaku-hanga ( 創作版画 , artistic prints ), every bit opposed to shin-hanga ( 新版画 , new prints ), a movement that retained traditional methods. In the West, many artists used the easier technique of linocut instead.

Methods of printing [edit]

The Crab that played with the sea, Woodcut by Rudyard Kipling illustrating one of his Just So Stories (1902). In mixed white-line (below) and normal woodcut (above).

Compared to intaglio techniques similar carving and engraving, merely low pressure is required to print. As a relief method, it is merely necessary to ink the block and bring it into firm and fifty-fifty contact with the paper or cloth to achieve an acceptable print. In Europe, a variety of woods including boxwood and several nut and fruit woods like pear or red were commonly used;^[two] in Nihon, the woods of the scarlet species Prunus serrulata was preferred.^{[ citation needed ]}

In that location are three methods of printing to consider:

• Stamping: Used for many fabrics and almost early European woodcuts (1400–40). These were printed by putting the paper/fabric on a tabular array or other flat surface with the block on elevation, and pressing or hammering the back of the block.
• Rubbing: Apparently the most common method for Far Eastern press on paper at all times. Used for European woodcuts and block-books later in the fifteenth century, and very widely for cloth. Also used for many Western woodcuts from well-nigh 1910 to the present. The cake goes face up on a tabular array, with the paper or textile on top. The back is rubbed with a "hard pad, a flat piece of forest, a burnisher, or a leather frotton".^[3] A traditional Japanese tool used for this is called a baren. Later in Japan, circuitous wooden mechanisms were used to help concur the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful one time multiple colors were introduced and had to be applied with precision atop previous ink layers.
• Printing in a press: presses only seem to have been used in Asia in relatively recent times. Printing-presses were used from well-nigh 1480 for European prints and block-books, and earlier that for woodcut volume illustrations. Simple weighted presses may have been used in Europe before the print-press, simply business firm evidence is lacking. A deceased Abbess of Mechelen in 1465 had "unum instrumentum ad imprintendum scripturas et ymagines ... cum 14 aliis lapideis printis"—"an instrument for printing texts and pictures ... with 14 stones for printing". This is probably likewise early to be a Gutenberg-type printing printing in that location.^[3]

History [edit]

Chief articles Quondam master impress for Europe, Woodblock printing in Nihon for Nihon, and Lubok for Russia

Madonna del Fuoco (Madonna of the Fire, c. 1425), Cathedral of Forlì, in Italia

A less sophisticated woodcut volume illustration of the Hortus Sanitatis lapidary, Venice, Bernardino Benaglio e Giovanni de Cereto (1511)

Woodcut originated in China in artifact as a method of printing on textiles and later on paper. The primeval woodblock printed fragments to survive are from Communist china, from the Han dynasty (earlier 220), and are of silk printed with flowers in three colours.^[4] "In the 13th century the Chinese technique of blockprinting was transmitted to Europe."^[5] Newspaper arrived in Europe, also from China via al-Andalus, slightly later, and was being manufactured in Italy by the end of the thirteenth century, and in Burgundy and Germany by the stop of the fourteenth.

In Europe, woodcut is the oldest technique used for old primary prints, developing about 1400, by using, on paper, existing techniques for printing. One of the more ancient woodcuts on newspaper that can be seen today is The Fire Madonna (Madonna del Fuoco, in the Italian language), in the Cathedral of Forlì, in Italy.

The explosion of sales of cheap woodcuts in the middle of the century led to a fall in standards, and many popular prints were very crude. The development of hatching followed on rather after than engraving. Michael Wolgemut was significant in making German woodcuts more sophisticated from about 1475, and Erhard Reuwich was the first to use cross-hatching (far harder to do than engraving or carving). Both of these produced mainly book-illustrations, as did various Italian artists who were besides raising standards there at the same menses. At the end of the century Albrecht Dürer brought the Western woodcut to a level that, arguably, has never been surpassed, and greatly increased the status of the "single-leaf" woodcut (i.eastward. an epitome sold separately).

Considering woodcuts and movable blazon are both relief-printed, they tin can hands be printed together. Consequently, woodcut was the main medium for book illustrations until the late sixteenth century. The first woodcut book illustration dates to about 1461, only a few years afterward the offset of printing with movable type, printed by Albrecht Pfister in Bamberg. Woodcut was used less often for private ("unmarried-leaf") fine-art prints from well-nigh 1550 until the late nineteenth century, when interest revived. It remained important for popular prints until the nineteenth century in most of Europe, and afterwards in some places.

The fine art reached a high level of technical and artistic evolution in East asia and Iran. Woodblock press in Japan is called moku-hanga and was introduced in the seventeenth century for both books and art. The pop "floating world" genre of ukiyo-e originated in the second half of the seventeenth century, with prints in monochrome or two colours. Sometimes these were manus-coloured after press. Afterwards, prints with many colours were developed. Japanese woodcut became a major artistic form, although at the fourth dimension it was accorded a much lower condition than painting. It continued to develop through to the twentieth century.

White-line woodcut [edit]

Using a handheld gouge to cut a "white-line" woodcut design into Japanese plywood. The design has been sketched in chalk on a painted face of the plywood.

This technique just carves the paradigm in more often than not thin lines, similar to a rather rough engraving. The block is printed in the normal style, so that most of the print is blackness with the image created by white lines. This process was invented by the sixteenth-century Swiss creative person Urs Graf, but became most popular in the nineteenth and twentieth century, often in a modified form where images used big areas of white-line contrasted with areas in the normal black-line fashion. This was pioneered by Félix Vallotton.

Japonism [edit]

In the 1860s, just as the Japanese themselves were becoming enlightened of Western fine art in general, Japanese prints began to attain Europe in considerable numbers and became very fashionable, specially in French republic. They had a bang-up influence on many artists, notably Édouard Manet, Pierre Bonnard, Henri de Toulouse-Lautrec, Edgar Degas, Paul Gauguin, Vincent van Gogh, Félix Vallotton and Mary Cassatt. In 1872, Jules Claretie dubbed the tendency "Le Japonisme".^[6]

Though the Japanese influence was reflected in many artistic media, including painting, information technology did pb to a revival of the woodcut in Europe, which had been in danger of extinction every bit a serious art medium. Most of the artists above, except for Félix Vallotton and Paul Gauguin, in fact used lithography, particularly for coloured prints. Meet beneath for Japanese influence in illustrations for children's books.

Artists, notably Edvard Munch and Franz Masereel, continued to use the medium, which in Modernism came to appeal because information technology was relatively easy to complete the whole process, including press, in a studio with footling special equipment. The German Expressionists used woodcut a good deal.

Color [edit]

Coloured woodcuts first appeared in ancient China. The oldest known are three Buddhist images dating to the 10th century. European woodcut prints with coloured blocks were invented in Germany in 1508, and are known as chiaroscuro woodcuts (see below). Withal, color did not become the norm, as it did in Nippon in the ukiyo-e and other forms.

In Europe and Japan, colour woodcuts were unremarkably only used for prints rather than volume illustrations. In China, where the individual print did non develop until the nineteenth century, the reverse is true, and early color woodcuts by and large occur in luxury books about art, specially the more prestigious medium of painting. The first known case is a book on ink-cakes printed in 1606, and color technique reached its height in books on painting published in the seventeenth century. Notable examples are Hu Zhengyan'southward Treatise on the Paintings and Writings of the Ten Bamboo Studio of 1633,^[7] and the Mustard Seed Garden Painting Manual published in 1679 and 1701.^[viii]

In Japan colour technique, called nishiki-e in its fully developed form, spread more widely, and was used for prints, from the 1760s on. Text was well-nigh always monochrome, every bit were images in books, but the growth of the popularity of ukiyo-e brought with information technology demand for ever-increasing numbers of colors and complication of techniques. Past the nineteenth century most artists worked in colour. The stages of this development were:

• Sumizuri-east (墨摺り絵, "ink printed pictures") – monochrome press using only black ink
• Benizuri-due east (紅摺り絵, "ruby printed pictures") – cherry ink details or highlights added by hand after the printing process；green was sometimes used besides
• Tan-eastward (丹絵) – orange highlights using a red pigment called tan
• Aizuri-e (藍摺り絵, "indigo printed pictures"), Murasaki-east (紫絵, "purple pictures"), and other styles that used a single colour in addition to, or instead of, black ink
• Urushi-e (漆絵) – a method that used glue to thicken the ink, emboldening the image; gold, mica and other substances were frequently used to enhance the image further. Urushi-e tin also refer to paintings using lacquer instead of paint; lacquer was very rarely if always used on prints.
• Nishiki-e (錦絵, "brocade pictures") – a method that used multiple blocks for separate portions of the image, so a number of colors could achieve incredibly complex and detailed images; a separate block was carved to apply merely to the portion of the prototype designated for a single color. Registration marks called kentō (見当) ensured correspondence between the application of each block.

A number of unlike methods of color printing using woodcut (technically Chromoxylography) were developed in Europe in the 19th century. In 1835, George Baxter patented a method using an intaglio line plate (or occasionally a lithograph), printed in black or a night colour, and then overprinted with up to xx different colours from woodblocks. Edmund Evans used relief and wood throughout, with up to eleven different colours, and latterly specialized in illustrations for children's books, using fewer blocks simply overprinting non-solid areas of color to achieve blended colours. Artists such every bit Randolph Caldecott, Walter Crane and Kate Greenaway were influenced by the Japanese prints now available and fashionable in Europe to create a suitable manner, with flat areas of colour.

In the 20th century, Ernst Ludwig Kirchner of the Die Brücke group developed a process of producing colored woodcut prints using a single cake applying different colors to the cake with a brush à la poupée and then printing (halfway betwixt a woodcut and a monotype).^[nine] A remarkable case of this technique is the 1915 Portrait of Otto Müller woodcut print from the collection of the British Museum.^[10]

Gallery of Asian woodcuts [edit]

Chiaroscuro woodcuts [edit]

Chiaroscuro woodcut depicting Playing cupids by anonymous 16th-century Italian artist

Chiaroscuro woodcuts are erstwhile primary prints in woodcut using two or more than blocks printed in unlike colours; they practise non necessarily feature strong contrasts of light and dark. They were first produced to achieve similar effects to chiaroscuro drawings. After some early on experiments in book-printing, the truthful chiaroscuro woodcut conceived for two blocks was probably first invented by Lucas Cranach the Elder in Germany in 1508 or 1509, though he backdated some of his first prints and added tone blocks to some prints offset produced for monochrome press, swiftly followed by Hans Burgkmair.^[11] Despite Giorgio Vasari's claim for Italian precedence in Ugo da Carpi, it is clear that his, the get-go Italian examples, date to around 1516.^{[12] [13]}

Other printmakers to use the technique include Hans Baldung and Parmigianino. In the German states the technique was in use largely during the showtime decades of the sixteenth century, just Italians connected to use information technology throughout the century, and later artists like Hendrik Goltzius sometimes made use of it. In the German style, ane block usually had only lines and is chosen the "line block", whilst the other block or blocks had flat areas of colour and are called "tone blocks". The Italians usually used merely tone blocks, for a very unlike result, much closer to the chiaroscuro drawings the term was originally used for, or to watercolor paintings.^[14]

The Swedish printmaker Torsten Billman (1909–1989) developed during the 1930s and 1940s a variant chiaroscuro technique with several grayness tones from ordinary printing ink. The art historian Gunnar Jungmarker (1902–1983) at Stockholm's Nationalmuseum called this technique "grisaille woodcut". It is a time-consuming press procedure, exclusively for hand printing, with several grey-woods blocks bated from the black-and-white key block.^[fifteen]

Mod woodcut printing in Mexico [edit]

José Guadalupe Posada, Calavera Oaxaqueña, 1910

Woodcut printmaking became a popular form of art in Mexico during the early to mid 20th century.^[ane] The medium in Mexico was used to convey political unrest and was a form of political activism, especially after the Mexican Revolution (1910–1920). In Europe, Russian federation, and Mainland china, woodcut fine art was being used during this time equally well to spread leftist politics such as socialism, communism, and anti-fascism.^[16] In United mexican states, the art style was made popular past José Guadalupe Posada, who was known equally the father of graphic art and printmaking in Mexico and is considered the first Mexican modern creative person.^{[17] [xviii]} He was a satirical cartoonist and an engraver before and during the Mexican Revolution and he popularized Mexican folk and indigenous art. He created the woodcut engravings of the iconic skeleton (calaveras) figures that are prominent in Mexican arts and civilisation today (such as in Disney Pixar'due south Coco).^[19] Encounter La Calavera Catrina for more on Posada's calaveras.

In 1921, Jean Charlot, a French printmaker moved to Mexico Metropolis. Recognizing the importance of Posada's woodcut engravings, he started teaching woodcut techniques in Coyoacán's open-air art schools. Many young Mexican artists attended these lessons including the Fernando Leal.^{[17] [18] [twenty]}

Later the Mexican Revolution, the country was in political and social upheaval - there were worker strikes, protests, and marches. These events needed cheap, mass-produced visual prints to exist pasted on walls or handed out during protests.^[17] Information needed to be spread quickly and cheaply to the general public.^[17] Many people were still illiterate during this time and there was push afterward the Revolution for widespread didactics. In 1910 when the Revolution began, only twenty% of Mexican people could read.^[21] Fine art was considered to be highly important in this cause and political artists were using journals and newspapers to communicate their ideas through analogy.^[xviii] El Machete (1924–29) was a pop communist periodical that used woodcut prints.^[xviii] The woodcut art served well because information technology was a popular way that many could understand.

Artists and activists created collectives such every bit the Taller de Gráfica Popular (TGP) (1937–present) and The Treintatreintistas (1928–1930) to create prints (many of them woodcut prints) that reflected their socialist and communist values.^{[22] [20]} The TGP attracted artists from all around the world including African American printmaker Elizabeth Catlett, whose woodcut prints subsequently influenced the art of social movements in the Us in the 1960s and 1970s.^[1] The Treintatreintistas fifty-fifty taught workers and children. The tools for woodcut are easily attainable and the techniques were simple to learn. Information technology was considered an art for the people.^[20]

Mexico at this fourth dimension was trying to discover its identity and develop itself as a unified nation. The grade and mode of woodcut aesthetic allowed a various range of topics and visual civilization to look unified. Traditional, folk images and avant-garde, modern images, shared a similar aesthetic when it was engraved into wood. An image of the countryside and a traditional farmer appeared similar to the image of a city.^[20] This symbolism was benign for politicians who wanted a unified nation. The physical actions of etching and press woodcuts besides supported the values many held about manual labour and supporting worker's rights.^[xx]

Current woodcut practices in Mexico [edit]

Today, in Mexico the activist woodcut tradition is still live. In Oaxaca, a collective called the Asamblea De Artistas Revolucionarios De Oaxaca (ASARO) was formed during the 2006 Oaxaca protests. They are committed to social change through woodcut art.^[23] Their prints are made into wheat-paste posters which are secretly put upwards effectually the city.^[24] Artermio Rodriguez is another creative person who lives in Tacambaro, Michoacán who makes politically charged woodcut prints about contemporary problems.^[1]

Famous works in woodcut [edit]

Europe

• Ars moriendi
• Dürer's Rhino
• Emblem books
• Four Horsemen of the Apocalypse
• Hypnerotomachia Poliphili
• Just So Stories
• Lubok prints
• Nuremberg Relate

Nihon (Ukiyo-e)

• Takiyasha the Witch and the Skeleton Spectre
• The Dream of the Fisherman's Wife
• Thirty-6 Views of Mount Fuji (includes The Great Moving ridge off Kanagawa)

Notable artists [edit]

The Prophet, woodcut past Emil Nolde, 1912, various collections

• Irving Amen
• Mary Azarian
• Aubrey Beardsley
• Hans Baldung
• Leonard Baskin
• Gustave Baumann
• Torsten Billman
• Carroll Thayer Drupe
• Emma Bormann
• Erich Buchholz
• Hans Burgkmair
• Domenico Campagnola
• Ugo da Carpi
• Baton Kittenish
• Salvador Dalí
• Gustave Doré
• Albrecht Dürer
• Yard. C. Escher
• James Flora
• Antonio Frasconi
• Robert Gibbings
• Vincent van Gogh
• Urs Graf
• Suzuki Harunobu
• Hiroshige
• Damien Hirst
• Jacques Hnizdovsky
• Hokusai
• Tom Huck
• Stephen Huneck
• Alfred Garth Jones
• Hussein el gebaly
• Ernst Ludwig Kirchner
• Gaga Kovenchuk
• Käthe Kollwitz
• J.J. Lankes
• James Duard Marshall
• Frans Masereel
• Hishikawa Moronobu
• Edvard Munch
• Emil Nolde
• Giovanni Battista Palumba (Principal I.B. with a Bird)
• Jacob Pins
• J. G. Posada
• Endi Eastward. Poskovic
• Hannah Tompkins
• Henriette Tirman
• Clément Serveau
• Paul Signac
• Eric Slater
• Marcelo Soares
• Utamaro
• Félix Vallotton
• Karel Vik
• Leopold Wächtler
• Sylvia Solochek Walters
• Susan Dorothea White

Stonecut [edit]

In parts of the globe (such as the arctic) where wood is rare and expensive, the woodcut technique is used with stone as the medium for the engraved prototype.^[25]

Meet as well [edit]

• Block book – Early Western block-printed book
• Chiaroscuro – Use of strong contrasts between light and nighttime in fine art
• Cordel literature – Brazilian literary genre
• Linocut – Printmaking technique
• Metalcut – Early on printmaking technique
• Old chief print – Work of art made printing on paper in the West
• Printmaking – Procedure of creating artworks by printing, normally on newspaper
• Safety stamp – Modest tool for over-printing
• Shin-hanga – "New prints": 20C Japanese fine art movement
• Sōsaku-hanga – "Creative prints" 20C Japanese art movement
• Wood carving – Form of working wood by ways of a cutting tool
• Woodblock printing – Early printing technique using carved wooden blocks
• Ukiyo-e – Genre of Japanese art which flourished from the 17th through 19th centuries

Notes [edit]

1. ^ ^{a b c d} "Gouge: The Mod Woodcut 1870 to Now – Hammer Museum". The Hammer Museum . Retrieved 18 March 2019.
2. ^ Landau & Parshall, 21–22; Uglow, 2006. p. xiii.
3. ^ ^{a b} Hind, Arthur Yard. (1963). An Introduction to a History of Woodcut. Houghton Mifflin Co. 1935 (in The states), reprinted Dover Publications, 1963. pp. 64–94. ISBN978-0-486-20952-four.
4. ^ Shelagh Vainker in Anne Farrer (ed), "Caves of the Thousand Buddhas", 1990, British Museum publications, ISBN 0-7141-1447-2
5. ^ Hsü, Immanuel C. Y. (1970). The Ascent of Mod China. New York: Oxford University Press. p. 830. ISBN978-0-xix-501240-8.
6. ^ Ives, C F (1974). The Great Wave: The Influence of Japanese Woodcuts on French Prints . The Metropolitan Museum of Art. ISBN978-0-87099-098-four.
7. ^ "Shi zhu zhai shu hua pu, or, Ten Bamboo Studio collection of calligraphy and painting". Cambridge Digital Library. Retrieved 11 August 2015.
8. ^ L Sickman & A Soper, "The Fine art and Architecture of Red china", Pelican History of Art, 3rd ed 1971, Penguin, LOC seventy-125675
9. ^ Carey, Frances; Griffiths, Antony (1984). The Print in Germany, 1880–1933: The Age of Expressionism. London: British Museum Press. ISBN978-0-7141-1621-1.
10. ^ "Portrait of Otto Müller (1983,0416.three)". British Museum Collection Database. London: British Museum. Retrieved 5 June 2010.
11. ^ then Landau and Parshall, 179–192; only Bartrum, 179 and Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna, Royal Academy, London, March–June 2014, exhibition guide, both credit Cranach with the innovation in 1507.
12. ^ Landau and Parshall, 150
13. ^ "Ugo da Carpi after Parmigianino: Diogenes (17.50.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Fine art". Metmuseum.org. 3 Feb 2012. Retrieved 18 February 2012.
14. ^ Landau and Parshall, The Renaissance Print, pp. 179–202; 273–81 & passim; Yale, 1996, ISBN 0-300-06883-2
15. ^ Sjöberg, Leif, Torsten Billman and the Wood Engraver'southward Art, pp. 165–171. The American Scandinavian Review, Vol. LXI, No. ii, June 1973. New York 1973.
16. ^ Hung, Chang-Tai (1997). "Two images of Socialism: Woodcuts in Chinese Communist Politics". Comparative Studies in Social club and History. 39 (1): 34–threescore. JSTOR 179238.
17. ^ ^{a b c d} McDonald, Mark (2016). "Printmaking in United mexican states, 1900–1950". The Metropolitan Museum of Art.
18. ^ ^{a b c d} Azuela, Alicia (1993). "El Machete and Frente a Frente: Art Committed to Social Justice in United mexican states". Art Periodical. 52 (ane): 82–87. doi:10.2307/777306. ISSN 0004-3249. JSTOR 777306.
19. ^ Wright, Melissa W. (2017). "Visualizing a land without a time to come: Posters for Ayotzinapa, United mexican states and the struggles confronting state terror". Geoforum. 102: 235–241. doi:x.1016/j.geoforum.2017.10.009. S2CID 149103719.
20. ^ ^{a b c d due east} Montgomery, Harper (December 2011). ""Enter for Complimentary": Exhibiting Woodcuts on a Street Corner in United mexican states Metropolis". Fine art Journal. 70 (4): 26–39. doi:10.1080/00043249.2011.10791070. ISSN 0004-3249. S2CID 191506425.
21. ^ "Mexico: An Emerging Nation's Struggle Toward Educational activity". Compare: A Journal of Comparative and International Education. v (2): eight–10. i September 1975. doi:10.1080/03057927509408824. ISSN 0305-7925.
22. ^ Avila, Theresa (iv May 2014). "El Taller de Gráfica Popular and the Chronicles of Mexican History and Nationalism". Third Text. 28 (3): 311–321. doi:10.1080/09528822.2014.930578. ISSN 0952-8822. S2CID 145728815.
23. ^ "ASARO—Asamblea de Artistas Revolucionarios de Oaxaca | Jordan Schnitzer Museum of Fine art". jsma.uoregon.edu . Retrieved 24 March 2019.
24. ^ Graham De La Rosa, Michael; Gilbert, Samuel (25 March 2017). "Oaxaca's revolutionary street art". Al Jazeera . Retrieved 23 March 2019.
25. ^ John Feeney (1963). Eskimo Artist Kenojuak. National Film Board of Canada.

References [edit]

• Bartrum, Giulia; High german Renaissance Prints, 1490–1550; British Museum Press, 1995, ISBN 0-7141-2604-7
• Lankes, JJ (1932). A Woodcut Transmission. H. Holt.
• David Landau & Peter Parshall, The Renaissance Print, Yale, 1996, ISBN 0-300-06883-2
• Uglow, Jenny (2006). Nature's Engraver: A Life of Thomas Bewick. Faber and Faber.

External links [edit]

Wikimedia Commons has media related to Woodcuts.

• Ukiyo-e from the Metropolitan Museum of Art Timeline of Art History
• Woodcut in Europe from the Metropolitan Museum of Art Timeline of Art History
• Italian Renaissance Woodcut Book Illustration from the Metropolitan Museum of Art Timeline of Art History
• Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on woodcuts
• Museum of Modernistic Art information on press techniques and examples of prints.
• Woodcut in early printed books (online exhibition from the Library of Congress)
• A collection of woodcuts images tin can exist found at the University of Houston Digital Library Archived i Nov 2012 at the Wayback Machine
• Meditations, or the Contemplations of the Most Devout is a 15th-century publication that is considered the starting time Italian illustrated book, using early on woodcut techniques.

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Source: https://en.wikipedia.org/wiki/Woodcut