The Art of the Print: Masterpieces, History, Techniques by Fritz Eichenberg

Review by: Robin Kaplan

ARLIS/NA Newsletter, Vol. 5, No. 1 (DECEMBER 1976), p. 29
Published by: The University of Chicago Press on behalf of the Art Libraries Society of North
America
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 But it is the second volume, an actual stereoscopic view
(which may be used to view originalVictorian stereotypes)
and 48 facsimiles of original turn-of-the-centurystereoscopic
cards (12 in full-color, 32 in two-color), which makes this
two-volume boxed set a practical addition to personal or
public libraries, especially those with photography and art
history collections.
Hofstede de Groot, C. A Catalogue Raisonne of the Works
of theMost Eminent Dutch Painters of the Seventeenth
Century] based on the work of John Smith. Translated
and edited by E.G. Hawke, London 1908-1927. 8 vols,
in 2. Teaneck, N.J., Somerset House. Vol.1 0914146327
Vol. II 0914146335. Chadwyck-Healey: Vol I 085964023
X Vol. II 0859640248 $158/?72.00 1976.
Vols. 9-10, 2 vols in 1,Bescheibendes und Kritisches Ver
zeichnis der Werke des Hervorragendsten Hollandischen
Maler des XVII Jahrhunderts, by C. Hofstede de Groot.
Teaneck, Somerset House:0914146343. Chadwyck
Healey :0859640256. $40/?l8. Complete set of 3 volumes
$198.00/?90.
This standard catalogue raisonne, an important research tool
for those concerned with Dutch painting, is now available as
a reduced format reprint at a reasonable cost. The original
eight-volume English translation has been reproduced in a
two-volume setwhile the third facsimile contains volume 9
and 10 of the original German work. Each volume is library
bound, 222x140mm; with four original pages to one facsi
mile page. Reprint volumes I and II cover 30 seventeenth
centuryDutch painters; volume III covers 10more.
Each entry includes a biographical sketch of the artist, a
section on pupils and imitators, a classified summary of the
contents of the artist's oeuvre, a catalogue raisonn? (this is
themost extensive section for each entry), a chronological
index of dated pictures and a comparative table of numbers
which refers to numbers in Smith's original catalogue and
supplement.
The catalogue raisonne section includes the title of each
picture; a brief description of thework; details of signature,
material and size; sales history and present location. Each
of the 10 volumes contains an index of collectors and col
lections where works of the artists discussed within that
volume may be found, as well as prefatorymaterial, direc
tions to the reader and translator's notes.
Leeman, Fred. Hidden Images: Games of Perception, Ana
morphic Art, Illusion; From theRenaissance to the
Present. New York, Abrams, 1976.
167p. illus. LC 76
3736 ISBN 0^109-9019-9 $9.85 paperback
Based largely on material originally organized for the
exhibition at the Rijksmnseum, Amsterdam, this
engaging
work documents anamorphoses, a phenomenon in which a
distorted surface ismade recognizable
through the identi
fication of the correct referencepoint, with or without the
use of a special reflectingcylinder or
pyramid.
More interesting than themany reproductions of the now
rare anamorphoses is the story behind this volume. Dr.
JurgisBaltrusaitis, a distinguished Lithuanian art historian
who is largely reponsible for the
scholarship in this book,
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All use subject to JSTOR Terms and Conditions
claims that thematerial was pirated from his own Ana
morphoses, published in France in 1969.
The threeDutch authors of this volume, Fred Leeman
(text), Josst Elfers and Mike Schuyt (photographs),
published Anamorphosen in France in 1975 with Dumont
Schauberg. Dr. Baltrusaitis contends that theDutch authors
had freelyobtained from him the contents of his
personal
archives and advice on the location of appropriate works of
art; that this advice was given in connection with theRijks
museum's exhibition on Anamorphosis, the
catalog forwhich
Dr. Baltrusaitis wrote an introduction ; that the threeDutch
authors published their book before the exhibition and
included without his permission his introduction; that their
book was virtually a pirating of his ideas and that their
"contribution" lay in areas of perspective thatwere not
anamorphic; thatDumont Schauberg had published the book
inGerman and included Baltrusaitis' preface without his con
sent, etc. In otherwords, thisvolume represents a violation
of Dr. Baltrusaitis1 intellectual property.
Because of Abrams1 cooperation and sympathetic attitude,
Dr. Baltrusaitis will receive financial compensation for the
improper use of his material; the American edition of the
Dutch-authored book will be differently titled (thus,Hidden
Images) and have a cover less similar to that of Dr. Baltrusa
itis1book; and Abrams will also publish Dr. Baltrusaitis1
book in this country.
A companion ofHidden Images and Anamorfosen, the
Rijksmuseum exhibition catalog reveals that the former
offersmore color plates. Both works include an unattached
(and therefore easily stealable) plastic mirror with which to
view and identify the images hidden within the otherwise
ambiguous circular illustrations. The Rijksmuseum catalog
accompanies the traveling show which has begun at the
Museum of Fine Arts in Boston and costs $5.95 plus
postage
and handling.
Note that the binding on theAbrams book probably will not
hold up under extensive use.
Eichenberg, Fritz. The Art of thePrint: Masterpieces, His
tory, Techniques. New York, Abrams, 1976. 61 lp., illus.
LC 74-18024 ISBN 0^8109-0103-X $35.00
This large and handsome volume with 749 illustrations,95
of which are full-color plates, is of special interest to the
aspiring graphic artist as it is organized around themajor
printmaking techniques. Individual chapters begin with a
historical survey and a demonstration of techniques of
each medium, followed by statements of prominent con
temporary printmakerswho work in the particular tech
nique. The historical surveys are superficial and somewhat
controversial in termsof data. However, the illustrations
and the careful descriptions of graphic processes are very
valuable. The selected bibliography and the glossary of
print terms are indeed a service to both the student and
the artist.The one troublesome area of the book is its
imperfectdesign; it is too tightlybound with almost non
existent gutters, so thatwhen the book is open, some of
the illustrations are not completely visible. (A more generous
provision of paper would have preserved the integrityof
the illustrations).
29