Canberra: National Gallery of Australia, 2007

328 pages, 439 colour illustrations, 30 x 25 cm., Bibliography, Index.

ISBN 978-0-642-54204-5

About

This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Table of Contents

• The painter–printmaking movement
  • Early painter–etchers in Australia
  • Working overseas: Etching, lithography and monotypes in London and Paris
  • The artistic lithograph in Australia
  • Prints and photographs: Shared concerns
  • The Australian Painter–Etchers Society
• The importance of design
  • Early posters and lithography
  • The poster style
  • Blamire Young and the artistic poster in Melbourne
  • An Australian style
  • Artists' woodblock prints
  • Australia and Japan: Links in print
  • Australian artists in Japan
  • Woodblocks: Printed in the Japanese manner
  • Travel posters
  • Wood-engraving and the art of the fine book
  • Exemplars: Margaret Preston and Thea Proctor
  • The linocut and Sydney women artists
  • Melbourne manner
  • Printed in magazines
  • The Grosvenor School and colour linocuts
• War, Depression, Anxiety
  • World War I
    • Posters
    • Responses to the war
  • World War II
    • Posters
    • Enemy aliens
    • Army life
    • At home with war
  • Printmakers and politics
    • The Great Depression
    • The linocut
    • Activists
    • The New Theatre
    • These are my people
  • Anxiety in war and its aftermath
    • Lithography, a democratic art form
    • Freedom of expression
    • Cold War anxiety and the search for meaning
• Bibliography
• Index

Availability

Out of print