Never before has the Renaissance fine print received the type of multifaceted scrutiny elaborated in this superb synthesis. While focusing on the great prints and printmakers of Italy and Germany, the authors have articulated a consideration that rigorously evokes the various graphic techniques, their stylistic qualities and visual ramifications, and the aesthetic and theoretical context in which the prints were produced. Not only is the proximate setting of the prints' production convincingly educed, but the societal milieu of their dissemination, acquisition, and appreciation are also cogently reconstructed. All this is set within an overview that encompasses the rise, efflorescence, and decline of this new artistic medium. This is a work so rich in information, observation, and insight that no collection seriously concerned with the history of the graphic arts of Renaissance culture may dispense with it. -- Library Journal. Robert Cahn, Fashion Inst. of Technology, New York.

Through an examination of material and institutional circumstances, through the study of work shop practices and of technical and aesthetic experimentation, this book seeks to give an account of the ways in which Renaissance prints were realized, distributed, acquired, and handled by their public.

Printmaking matured in western Europe between 1470 and 1550, when the great generation of artists and printmakers brought international recognition to print as an art form. This book examines the technical and aesthetic experimentation that went into printmaking, workshop practices, and the material and social contexts of print production, and it gives the fullest account ever written of the ways in which Renaissance prints were produced, distributed, and acquired. David Landau and Peter W. Parshall pose a range of practical questions about the production of prints. They investigate, for example, what materials were used, how they were acquired, and how a Renaissance printmaker's workshop operated. They explore the evidence that individual prints were beginning to be esteemed as works of art rather than as inexpensive substitutes for them, and the relationship between prints made to be collected and those of a more ephemeral nature intended for a wider audience. They discuss how prints were valued during the period, including the relative value of woodcuts to engravings, and engravings to etchings. And they investigate how prints evolved in relation to the pictorial arts of the Renaissance generally. Examining documentary evidence and many individual prints, Landau and Parshall provide an integrated view of the Renaissance print as a social and artistic enterprise and reevaluate the achievements of the most influential phase in the history of European printmaking. -- Publisher's website.