David Landau

Peter W. Parshall

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.

The Renaissance Print, 1470-1550

Nicholas Penny

National Gallery of Art (U.S.)

Hollis Clayson

Hammer Museum

David and Alfred Smart Museum of Art

Christiane Hertel

For many today, the art of the late nineteenth century is equated with impressionism and post-impressionism. This book with its insightful essays and remarkable works of art presents us with an alternative account of the period. For collectors the experience of prints, drawings, and small sculptures was often a private affair, like taking a book down from the shelf for quiet enjoyment. Prints and drawings were kept aside, compiled in albums and portfolios, while medals and bronzes were often placed in the seclusion of the library. In short, such works of art were not typically a part of one's day-to-day environment in the manner of a framed object hung on a wall. Rather, they were subject to purposeful study on chosen occasions. From the beginning this element of discreteness allowed for degrees of experiment, leading artists to some times recherche, sometimes enigmatic, and often melancholy subjects that indulged the solitary circumstances of their reception. By explicating a range of highly engaging, often mysterious and beautiful objects, The Darker Side of Light evokes the shadowed interiors and private introspections that compose a far less familiar history of late nineteenth century art.

Arts of Privacy, 1850-1900

The Darker Side of Light

Peter Schmidt

Germanisches Nationalmuseum

David S. Areford

Rainer Schoch

Richard S. Field

The first comprehensive history of late medieval printmaking, which transformed image production and led to profound changes in Western culture

Fifteenth-century Woodcuts and Their Public

Origins of European Printmaking

Peter W. Parshall

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