Traditionally, the history of printmaking has fallen in the space between art history and the history of the book. Often ‘reproductive’ and multiple in nature, prints have long been marginalized in art historical scholarship in favour of the traditional ‘high’ arts. The inherent complexities in the manufacture and sale of print, often involving multi-faceted networks of specialist craftsmen, artists, publishers and sellers, has also led to much confusion. Not knowing how prints are made has affected our ability to understand the medium and its aesthetic qualities. However, recent scholarship has opened up new avenues for placing prints in Renaissance and Early Modern Europe. From the techniques applied in the making of prints to the individuals involved in their production, distribution and use, current research is continuing to shape our understanding of this complex field.
- Antony Griffiths: Oxford Slade Professor, former Keeper of Prints and Drawings at the British Museum and Co-Founder of Print Quarterly
- Naomi Lebens: The Courtauld Institute of Art
- Tatiana Bissolati: The Courtauld Institute of Art
- Bryony Bartlett-Rawlings: The Courtauld Institute of Art
- Chloe Gilling: The Courtauld Institute of Art
For more information, please see this page