These magazines addressed in each case the ideological and formalist concerns of their editors in respect to the contemporary discussions on the place of the artist in society, the leftist anti-capitalist discourse against social inequality, and the Popular Front cultural policy as reflected in the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne. This paper discusses several aspects of the “art des masses” concept that flourished in Paris during the Popular Front years (1936–1938) and the contribution of three of the most important Parisian art magazines to the establishment of a visual imagery: Cahiers d'art, Minotaure, and Verve. Reconstructing and contextualizing the technological practices of these publishers can create new tools for bibliographical analysis, an accessible source of information about technical processes for general historians, and a wealth of data about publishers such as William Berry, whose role in networks of erotica in nineteenth-century America has only recently begun to be appreciated. Printer skill levels and capitalization can sometimes be determined through the presence of gripper marks on printed sheets. Surviving artifacts offer evidence about regional production styles and the ways that fiber selection, and particularly the use of straw in low-quality papers, influenced the prevalence of yellow wrappers for ephemeral works. Focusing on works considered indecent by the nineteenth-century bibliographer Henry Spencer Ashbee, this dissertation integrates the political economy of print with an analysis of the material forms of semi-erotic and obscene books. Conservation, papermaking, illustrations, printing, and typefounding are as important to the history of American erotica as the more famous prosecutions led by Anthony Comstock. Those rare artifacts make available long-lost details about the men and women who manufactured print at the boundaries of social propriety, the production technologies they employed, and the place of difficult-to-research publishers in the American book trades. Books prohibited or later destroyed because of their content survived in a relatively wide variety of forms in the hands of rare book collectors, making such artifacts perhaps even more important for the study of industrial practices than literary works collected in greater numbers by research institutions. They should be seen instead as entrepreneurs whose technological practices and business strategies were largely representative of the diversity within American publishing. It should be recalled that the Cramer catalog only includes photos –mostly black & white–of the original graphics the book contains, neglecting the rest.Īmerican publishers of indecent books from 1840 to 1890 were not outsiders to the printing trades. Another purpose of the present book is to provide color visual information on how the books look like, including the covers and slip cases and boxes that house them the page layout the interaction between text and prints and of illustrations other than original prints. By including all these new books, the author hopes to bring a wider perspective on Picasso’s book illustration work. Other criteria used by Orozco in deciding what to include are that Picasso knew about the book and approved the inclusion of his illustrations or selected them or that Picasso participated in the production, gave the bon à tirer or designed the cover or interior. This was particularly the case with the prints made in the Paris workshop of Daniel Jacomet, his preferred pochoir printer from 1920 (Le Tricorne) to 1972 (Carnet de Paris). Orozco includes for instance books illustrated with pochoirs after Picasso, both because they constitute an important part of the artist’s graphic production and in view of the fact that Picasso gave the bon à tirer for many or most of the hundreds of pochoirs realized after his works. Catalogue of the printed graphic work, the requirement for a book to make its way to the Cramer. In this connection, Orozco’s catalog contains 265 entries, versus the 156 of the 1983 compilation, the main characteristic of the 109 added books being that the illustrations they contain are not registered in Georges Bloch’s Pablo Picasso. The purpose is rather to complement it by catering for needs that were not in the mind of Patrick Cramer. It does not aim to replace the prestigious 1983 Cramer catalogue raisonné Pablo Picasso The Illustrated Books. 70 years of book illustration is a new compendium of all the books illustrated by the painter.
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