By Patricia Mainardi
Taking its name from the 1844 visionary photo novel by way of J. J. Grandville, this groundbreaking ebook explores the discovery of print media—including comics, sketch, the illustrated press, illustrated books, and renowned prints—tracing their improvement in addition to the cultured, political, technological, and cultural matters that formed them. The explosion of images from the overdue 18th century to the start of the twentieth passed the print construction from all prior centuries mixed, spurred the expansion of the foreign artwork marketplace, and inspired the cross-fertilization of media, topics, and kinds. Patricia Mainardi examines rankings of imaginitive and cutting edge prints, concentrating on hugely experimental moments of discovery, while artists and publishers validated the bounds of every new medium, growing visible languages that stretch to the comics and picture novels of this day. Another World finds a wealth of visible fabric, revealing a heritage of the way our image-saturated global got here into being, and situating the research of print tradition firmly in the context of paintings history.
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Additional resources for Another World: Nineteenth-Century Illustrated Print Culture
I am especially grateful to the Research Foundation of the City University of New York, to the Institut National d’Histoire de l’Art (INHA) in Paris, and to the Yale Center for British Art for their support, which enabled my research over several years. Colloquia and symposia gave me the opportunity to present the earliest drafts of my work and to continually revise it. A special thank you to Ségolène Le Men, whose writing has been an inspiration for my own, and who organized the 2006 colloquium at INHA, Caricature: Bilan et recherche, where I first presented aspects of this study.
Lith. Senefelder. 8. 1 It allowed them to draw directly on the stone plate, replacing the laborious process of creating a drawing on a metal plate by incising lines, as in engraving, or using repeated acid baths, as in etching. Lithography produced images that seemed miraculous in speed and fidelity, equally able to create line or shadow. In England, Specimens of Polyautography (the term first employed for the lithographic process) was published in 1803 with lithographic drawings by several artists, including Henry Fuseli (1741–1825).
FIGURE 10 J. M. Moreau le Jeune, The Small Loge. Engr. Jean-Baptiste Patas from Third Suite of Prints Showing the History of French Manners and Costume in the Eighteenth Century [La petite loge/Troisième suite d’estampes pour servir à l’histoire des moeurs et du costume des français dans le dix-huitième siècle], 1783. Etching and engraving. Pub. Prault. Yale University Art Gallery, purchased by the University. It is in this context that we must see the work of Géricault for, although his lithographs are considered the first real masterpieces of the medium, predating those of Delacroix, he never exhibited them at the Salon.
Another World: Nineteenth-Century Illustrated Print Culture by Patricia Mainardi