By Patricia Mainardi
Taking its name from the 1844 visionary photo novel through J. J. Grandville, this groundbreaking booklet explores the discovery of print media—including comics, sketch, the illustrated press, illustrated books, and renowned prints—tracing their improvement in addition to the classy, political, technological, and cultural concerns that formed them. The explosion of images from the overdue 18th century to the start of the twentieth surpassed the print construction from all earlier centuries mixed, spurred the expansion of the foreign artwork marketplace, and inspired the cross-fertilization of media, topics, and kinds. Patricia Mainardi examines rankings of creative and cutting edge prints, targeting hugely experimental moments of discovery, while artists and publishers validated the boundaries of every new medium, growing visible languages that reach to the comics and photograph novels of this present day. Another World finds a wealth of visible fabric, revealing a background of the way our image-saturated global got here into being, and situating the examine of print tradition firmly in the context of paintings history.
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Extra resources for Another World: Nineteenth-Century Illustrated Print Culture
Nor can this be an exhaustive study of illustrated print media, which would necessitate numerous volumes. It is, instead, a book about the development of the new graphic language enabled by advances in reproductive technology, a vernacular language of drawing that developed parallel to, and at times in opposition to, the language of high art. Rather than offering the reader yet another theoretical analysis of popular culture, although this literature has helped greatly in situating my theme, what I have written is more in the nature of an archaeology of the stratum of visual imagery lying just below the surface of high art.
A Crush of Artists at the Publisher’s [Une poussée d’artistes chez l’éditeur], ca. 1820s. Lith. Gobert, Pub. Genty. Although the métier of composing drawings that would be seen only in reproduction as lithographic prints was scarcely more prestigious than the technical work of actually producing the prints, adventurous artists soon began producing lithographs in quantity. In A Crush of Artists at the Publisher’s, the artists, each carrying a lithographic stone bearing his drawing, all try to crowd into the publisher’s office at the same time (fig.
I regard the illustrated print medium not as the poor relation of the more prestigious art of drawing—or “drawing’s stepchild,” as I call lithography in chapter 1—but as important in its own right, enabling artists to produce significant and memorable images. The imaginative possibilities and visual strategies developed by these nineteenth-century artists were often rediscovered by subsequent generations and assimilated into twentieth-century Modernism, so a study of their work will not only broaden our conception of nineteenth-century visual culture, but will also cast new light on more familiar art historical developments.
Another World: Nineteenth-Century Illustrated Print Culture by Patricia Mainardi