MARC Record from marc_columbia

LEADER: 03655mam a2200493 a 4500
001 3363109
005 20221020053314.0
008 021104t20022002paua bc 001 0 eng
010 $a 2002005463
020 $a0271022345 (cloth)
020 $a0271022353 (paper)
035 $a(OCoLC)506109389
035 $a(OCoLC)ocn506109389
035 $9AVC4261CU
035 $a(NNC)3363109
035 $a3363109
040 $aDLC$cDLC$dNNFr$dOrLoB-B
042 $apcc
043 $ae------
050 00 $aNE625$b.D33 2002
082 00 $a769.943/074/7526$221
090 $a[E[B21[M97[2002/03
100 1 $aDackerman, Susan.$0http://id.loc.gov/authorities/names/no98132381
245 10 $aPainted prints :$bthe revelation of color in Northern Renaissance and Baroque engravings, etchings, & woodcuts /$cSusan Dackerman ; with an essay by Thomas Primeau ; catalogue entries by Deborah Carton [and others].
260 $aUniversity Park, Pa. :$bPennsylvania State University Press,$c[2002], ©2002.
300 $axii, 297 pages :$bcolor illustrations ;$c32 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
500 $aCatalog of an exhibition organized by the Baltimore Museum of Art and held at Baltimore Museum of Art, Oct. 6, 2002-Jan. 5, 2003, and at Saint Louis Museum of Art, Feb. 14-May 18, 2003.
504 $aIncludes bibliographical references (p. 279-285) and index.
520 1 $a"A Renaissance print with color is almost invariably regarded as a suspect object because the color is presumed to be a cosmetic addition made to compensate for deficiencies of design or condition. Painted Prints challenges this deeply entrenched assumption about the material and aesthetic structure of early prints by showing that in many cases hand coloring is not a dubious supplement to a print but is instead an integral element augmenting its expressive power, beauty, and meaning.".
520 8 $a"Published in conjunction with an exhibition organized by The Baltimore Museum of Art, Painted Prints reproduces and discusses a rich variety of hand-colored prints from Northern Europe of the Renaissance and Baroque periods. Anonymous woodcuts are juxtaposed with masterworks by such famed artists as Durer, Holbein, and Goltzius.
520 8 $aThese prints, secular as well as religious, muted as well as vibrant in tonality, make it clear that hand coloring was a widespread, enduring practice, developed to satisfy the demands of both elite and popular audiences.".
520 8 $a"Painted Prints presents new research into the artists who specialized in hand coloring and offers insights into the social and economic organization of Renaissance and Baroque printmaking. It also draws on scientific analyses of the materials and techniques of hand coloring to address important questions of authenticity, chronology, and condition.
520 8 $aWith a catalogue and color illustrations of all the hand-colored prints in the exhibition, this book makes a groundbreaking contribution to the study of Renaissance prints and their pivotal place in the visual culture of early modern Europe."--BOOK JACKET.
650 0 $aPrints, European$zEurope, Northern$vExhibitions.
650 0 $aPrints, Renaissance$zEurope, Northern$vExhibitions.
650 0 $aPrints, Baroque$zEurope, Northern$vExhibitions.
650 0 $aPrints$xColoring$vExhibitions.
710 2 $aBaltimore Museum of Art.$0http://id.loc.gov/authorities/names/n79079550
710 2 $aSt. Louis Art Museum.$0http://id.loc.gov/authorities/names/n79005591
852 80 $bfax$hNE400$iD11
852 00 $boff,war$hNE625$i.D33 2002
852 00 $bbar$hNE625$i.D33 2002