Like Dürer, Rembrandt and Goya, Anthony van Dyck (1599-1641) made a key contribution to the art of printmaking. He was himself a talented etcher, and prints after his paintings were cut by the best engravers of his day. Yet, to date, his printmaking has suffered from undeserved neglect. This book discusses Van Dyck's first acquaintance with the medium in Rubens's workshop and illuminates the genesis of the Iconography, a portrait gallery of illustrious contemporaries. All his etchings are catalogued together with preparatory drawings and grisailles, as well as proofs containing corrective flourishes. Furthermore the book includes a selection of the prints after paintings by Van Dyck. A number of them were the initiative of the artist himself, and others were produced on behalf of publishers and engravers. Works from the eighteenth century are included to illustrate the influence Van Dyck exerted until long after his death-- even in France and England. The introductory essays discuss the collecting of Van Dyck prints, the phenomenon of the trial proof, and technical aspects of the etchings. Based on new archival research the biographies are included of all those who were instrumental in the production of the prints: engravers, publishers, and the persons to whom they were dedicated by Van Dyck. Many of the prints are reproduced in color and the book has numerous comparative illustrations making it essential not only for scholars and enthusiasts of Van Dyck's work, but all those interested in the history of printmaking.

Anthony Van Dyck as Printmaker

Arts & Photography

Depauw, Carl

Luijten, Ger

Individual Artists

Rizzoli

Rembrandt was the most original printmaker of all time. In no fewer than 300 images, he covered the full range of styles and subjects for which he is celebrated, including self-portraits, scenes from the Bible, vignettes of every day, and character studies. Rembrandt was famously experimental, and often reworked his copper plates to improve and extend their expressive power, creating startlingly modern results. 
 Rembrandt the Printmaker, compiled by three leading authorities on Rembrandt, and published to coincide with a major exhibition at the Rijksmuseum (Amsterdam) and British Museum (London), aims to illustrate a selection of his finest prints. Exciting new areas of research have opened up in recent years, making it possible to follow the progress of Rembrandt's work on each plate and also revealing details of his habit of revising the images at various times throughout his life. All of these new insights are presented to the wider public for the first time in Rembrandt the Printmaker, which is lavishly illustrated with 80 color and 320 black/white images.

Rembrandt the Printmaker

Hinterding, Erik

ROYALTON-KISCH, Martin

History & Criticism

Routledge

Palézieux: Œuvres sur papier

Crafts, Hobbies & Home

Rodari, Florian

Schatborn, Peter

Madeleine-Perdrillat, Alain

Antiques & Collectibles

CINQ CONTINENTS

A seventeenth-century artist lived in a world full of prints. Many houses had prints hanging on the walls, framed or pinned, and stored in wrappers, folders and - loose or pasted - in bound albums. They were sold over the counter and by pedlars singly or in series. Prints were purchased not only for their subject or for purposes of study, but also because of the fame of the printmaker or designer, as a means of getting to know his art. Artists themselves were always among the most enthusiastic collectors: from prints they could learn at a distance about the creations of renowned masters and acquire a wealth of motifs and figures to use in their own work. Some were content to see a few examples of others' skills, but there were also insatiable enthusiasts who sought to build up a comprehensive fund of prints going back to the invention of the medium. Rembrandt Hermenszoon van Rijn (1606-1669) belonged to the latter category. What he accumulated, driven by a passionate collector's zest, can be reconstructed to some extent on the basis of the 1656 inventory of his property. The riches of his kunstcaemer (art cabinat) included scores of prints and drawings - art on paper, as it was described - that he kept in a large number of albums.

Rembrandt's etchings (Rijksmuseum dossiers)

Waanders Publishers, Rijksmuseum

Among the Boijmans Van Beuningen Museum's extensive holdings of Old Master drawings, the collection of drawings by the Antwerp masters Peter Paul Rubens, Jacob Jordaens and Anthony van Dyck stand out as absolute highlights. This generously illustrated publication examines 70 of their best drawings, discussing not only the significance of these works, but also their provenance, attribution and dating. It also sets the work in context, by considering the work of a variety of contemporaries on the seventeenth-century Flemish scene (many of whom were influenced directly by the work of these masters), and by including essays on a variety of topics of art and culture in Antwerp. This book will be a major contribution to the study of seventeenth-century Northern European art.

Rubens, Jordaens, Van Dyck and Their Circle: Flemish Master Drawings from the Museum Boijmans Van Beuningen

Baetens, Roger

de Haan, Maartje

Meij, Bram

Meijer, Bert

Vlieghe, Hans

Jordaens, Jacob

van Dyck, Anthonie

Rubens, Peter Paul

nai010 publishers/Museum Boijmans Van Beuningen

From Pisanello to Cézanne: Master drawings from the Museum Boymans-van Beuningen, Rotterdam

Meij, A.W.F.M.

Museum Boymans-Van Beuningen

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