At the turn of 2017 and 2018, with the date 2017 printed in the colophon, two catalogues of engravings’ collections were published: old Italian prints from the collection of the National Museum in ...Wrocław, and French prints from the National Museum in Szczecin. The collection of Wrocław contains groups of artworks by the best Italian engravers from the Renaissance to the 18th century, and a small representation of the 19th century. An introduction to the catalogue gives the history, the scope and the contents of the collection as well as the brief history of the engraving art on the Apennine Peninsula. The catalogue itself is glossed, giving references to the latest research, preceded by biographical notes of encyclopaedic character. This well illustrated and thoroughly edited catalogue, organised in a user-friendly alphabetical order, is a compendium useful not only for art historians. The catalogue published by the National Museum in Szczecin has the same title as the exhibition of French engravings from its collection. It is a combination of both the exhibition and the collection catalogue. Hence its specific layout corresponding rather with the narration of an exhibition than a catalogue’s criteria. Both the encyclopaedic profiles of artists and the following glosses are accompanied by selected bibliography; its full version together with extensive academic references can be found at the end of the volume. The collection of over 600 prints has been divided not in alphabetical or chronological order but in accordance with an academic hierarchy of subjects. Engravings for art reproduction purposes prevail in Szczecin collection although original works of famous artists are also included. The publication of both catalogues allows us to learn more about the engravings in Polish public collections, i.e. the ones of national museum in Szczecin and Wrocław. It also gives the history of Polish collections after 1945, affected by the previous losses of the World War II. Undoubtedly, the sign of the times and the presence of Poland in the united Europe is the publication of the Italian engravings’ collection from Wrocław, which was kept before in the Academy of Arts in Berlin. Great care has been taken to prepare both catalogues in terms of their typography, although the illustrations in the French engravings’ catalogue would be of more benefit if were somewhat larger.
The nineteenth century witnessed a series of revolutions in the production and circulation of images. From lithographs and engraved reproductions of paintings to daguerreotypes, stereoscopic views, ...and mass-produced sculptures, works of visual art became available in a wider range of media than ever before. But the circulation and reproduction of artworks also raised new questions about the legal rights of painters, sculptors, engravers, photographers, architects, collectors, publishers, and subjects of representation (such as sitters in paintings or photographs). Copyright and patent laws tussled with informal cultural norms and business strategies as individuals and groups attempted to exert some degree of control over these visual creations. With contributions by art historians, legal scholars, historians of publishing, and specialists of painting, photography, sculpture, and graphic arts, this rich collection of essays explores the relationship between intellectual property laws and the cultural, economic, and technological factors that transformed the pictorial landscape during the nineteenth century. This book will be valuable reading for historians of art and visual culture; legal scholars who work on the history of copyright and patent law; and literary scholars and historians who work in the field of book history. It will also resonate with anyone interested in current debates about the circulation and control of images in our digital age.
This landscape study of the rock-art of Rombalds Moor, West Yorkshire, considers views ofand fromthe sites. In an attempt to understand the rock-art landscapes of prehistory the study considered the ...environment of the moor and its archaeology along with the ethnography from the whole circumpolar region.
El hallazgo de un canto de esquisto con 7 zoomorfos (ciervos, cápridos y/o bóvidos) y restos informes grabados en el yacimiento de Coves del Fem (Ulldemolins, Tarragona), contribuye a enriquecer el ...exiguo repertorio de arte mueble de tradición paleolítica del noreste de la península Ibérica. Su análisis detallado y su comparación con el registro artístico de la vertiente mediterránea peninsular resultan claves para determinar su adscripción crono-cultural. La pieza conserva un complejo palimpsesto de motivos figurativos y no figurativos distribuidos por ambas caras, cuyas características formales, técnicas y compositivas (asociaciones no escénicas), nos remiten al final del ciclo artístico paleolítico. Este hallazgo amplía el inventario de arte paleolítico catalán, reafirma la importancia de la provincia de Tarragona, que concentra la mayoría de los hallazgos de arte mueble paleolítico de Cataluña, y abre nuevas perspectivas en el estudio del yacimiento, al ampliar su cronología hasta momentos finales del Paleolítico superior. ABSTRACT: This paper reports the discovery of a schist slab with 7 zoomorphic figures (deer, wild goats and/or bulls) and other engraved remains at Coves del Fem site (Ulldemolins, Priorat, Tarragona) in 2020. This find adds to the limited, although unique, repertoire of portable art of Palaeolithic style found so far in the northeastern part of the Iberian Peninsula. A detailed analysis of this piece and comparison with the artistic record known so far for the Mediterranean side of Iberia are key to establish the relative chronology of this find. The themes (a combination of animals and non-figurative motifs), the formal (simplified representations of animals with elongated bodies), technical (a schist slab with fine incised engravings filled with striated strokes) and compositional patterns of the motifs, with a complex palimpsest of figurative and non-figurative engravings distributed on both sides creating two non-scenic compositions, recall an art from the end of the Paleolithic artistic cycle. To these common elements, this slab adds certain singularities. First, two animals of different species are involved in a mirror symmetry composition, which is not unique to this site, but it is more common in older periods and with the animals distributed on both sides of a vertical axis, rather than horizontal, as in this case. Such distribution has no parallels in this final phase of the artistic sequence. Second, the microscopic analysis of the art reveals the preservation of red pigment inside the engraved grooves, showing the use of a mixed technique, involving a combination of incision and painting. This practice, used probably to enhance motifs and improve visualization, has been recorded in a limited number of Palaeolithic sites, most likely due to conservation problems. Third, the slab includes the first example of an engraved goat known in the Catalan repertoire. Overall, this find contributes to expand the repertoire of Catalan Paleolithic art, confirms the importance of the Tarragona province, concentrating most of the finds of Paleolithic portable art in Catalonia, and opens new perspectives in the study of Coves del Fem, substantially expanding the chronology of this site until the end of the Upper Paleolithic period. Finally, it brings a new example with its own peculiarities (the type of composition) for characterizing the art of the Pleistocene/Holocene transition in south-western Europe.
An extensive body of engraved rock art on the Great Papuan Plateau is documented here for the first time, along with the first dates for occupation. Consisting largely of deeply abraded or pecked ...barred ovals and cupules, the rock art of this region does not fit comfortably into any regional models for rock art previously described. It does, however, exhibit some similarity to art in regions to the east and the west of the plateau. Subject to further archaeological testing, we present a number of exploratory hypotheses with which to explain the presence of the engravings; as part of the ethnographic and contemporary Kasua's cultural suite; as part of a relatively recent (late Holocene) migration of peoples from the Gulf to the plateau; or as part of an earlier movement of people from the west, possibly as part of the movement of people into the Sahul continent in the Late Pleistocene. We conclude that the Great Papuan Plateau is not a late and marginally occupied ‘backwater’ but rather part of a possible corridor of human movement across northern Sahul and a region that could allow us to better understand modern humans as they reached the Sahul continent.
RÉSUMÉ
Un immense corpus d'art rupestre gravé du Grand Plateau de Papouasie‐Nouvelle‐Guinée, est exposé ici pour la première fois, accompagné des premières dates d'occupation humaine qui lui sont associées. L'art rupestre de cette région se compose pour l’essentiel, d'ovales barrés et de cupules profondément abrasés ou piquetés. Cet art ne s’accorde avec aucun des modèles régionaux précédemment décrits. Néanmoins, il
présente quelques similarités avec l'art des régions situées à l'est et à l’ouest du plateau. Sous réserve de validation par davantage de faits archéologiques nous présentons plusieurs hypothèses pouvant expliquer la présence des gravures : comme composante ethnographique et contemporaine de la culture Kasua ; comme partie d’une migration relativement récente (Holocène récent) des peuples du Golfe vers le Plateau; ou comme partie d'un mouvement précoce de populations venant de l'ouest ayant pu appartenir à un déplacement de population dans le Sahul au Pléistocène récent. Nous concluons que le Grand Plateau de Papouasie‐Nouvelle‐Guinée n'est pas une zone reculée récemment et marginalement occupée. Il s’agirait plutôt d'un corridor potentiel de déplacement humain à travers la partie septentrionale du Sahul et une région qui pourrait nous permettre de mieux comprendre les humains modernes lorsqu’ils atteignent le continent sahulien.
Au Sud-est de la Tunisie, dans la région de Tataouine à proximité d’Aïn Charchara, au pied de la cuesta triasique de Jebel Rehach, dont la partie inférieure est constituée de grès, un banc gréseux ...oxydé situé au bord d’un paléolac asséché contient des gravures inédites de deux bovinés et d’autruches réalisées par piquetage.
In the South-east of Tunisia, at the region of Tataouine near Aïn Charchara, below the triassic cuesta of Jebel Rehach, which lower part is made of sandstone, an oxidized sandstone bench located on the edge of a paleo dry lake contains unpublished engravings showing two cattle and ostriches made by picketing.
L’Atlas saharien est l’une des provinces rupestres les plus importantes du nord de l’Afrique. Très riche en gravures pré et protohistoriques, cet art, à prédominance animalière, figure avec beaucoup ...d’intérêt certaines espèces, à l’exemple du bubale antique. Ce dernier est une figure caractéristique de l’art rupestre atlasique en raison de son omniprésence dans les sites rupestres. Les multiples découvertes survenues ces dernières années dans la région, viennent renforcer cette thèse mais aussi enrichir et compléter l’inventaire des figurations de cette espèce éteinte. Celles-ci modifient également l’idée que nous avions, jusqu’à maintenant, concernant la répartition spatiale, thématique et stylistique de ces figurations : les résultats de l’étude des stations inédites et celles déjà connues mais revisitées, offrent une nouvelle lecture de ces représentations.
The Saharan Atlas is one of the most important rupestrian provinces in northern Africa. Very rich in prehistoric and protohistoric engravings, this art, predominantly animal, features some species with great interest, such as the antique buffalo. This one is a characteristic figure of Saharan Atlas rock art due to its omnipresence in rock art sites. The many discoveries that have occurred these last years in the region reinforce this thesis but also enrich and complete the inventory of representations of this extinct species. These also modify the idea that we had, until now, concerning the spatial, thematic and stylistic distribution of these figurations: the results of the study of new sites and those already known but revisited, offer a new reading of these representations.
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