Firefly Wood Art Im a Leaf on the Wind Wood Engraving

Relief press technique

Woodcut is a relief printing technique in printmaking. An creative person carves an prototype into the surface of a block of wood—typically with gouges—leaving the press parts level with the surface while removing the non-printing parts. Areas that the artist cuts away conduct no ink, while characters or images at surface level behave the ink to produce the print. The block is cut along the woods grain (unlike wood engraving, where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface just not in the non-press areas.

Multiple colors can be printed by keying the paper to a frame around the woodblocks (using a dissimilar cake for each color). The art of carving the woodcut can be called "xylography", but this is rarely used in English for images lone, although that and "xylographic" are used in connexion with cake books, which are small books containing text and images in the same block. They became popular in Europe during the latter one-half of the 15th century. A single-sheet woodcut is a woodcut presented as a single image or impress, as opposed to a volume illustration.

Since its origins in Red china, the practice of woodcut has spread around the earth from Europe to other parts of Asia, and to Latin America.^[1]

Division of labour [edit]

In both Europe and Eastern asia, traditionally the artist only designed the woodcut, and the cake-etching was left to specialist craftsmen, chosen formschneider or block-cutters, some of whom became well known in their own right. Among these, the best-known are the 16th-century Hieronymus Andreae (who likewise used "Formschneider" as his surname), Hans Lützelburger and Jost de Negker, all of whom ran workshops and also operated as printers and publishers. The formschneider in plough handed the block on to specialist printers. There were further specialists who fabricated the bare blocks.

This is why woodcuts are sometimes described by museums or books as "designed by" rather than "by" an creative person; just nearly authorities do not apply this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, without needing to larn the utilize of woodworking tools.

In that location were diverse methods of transferring the creative person's drawn design onto the block for the cutter to follow. Either the drawing would be made direct onto the cake (frequently whitened first), or a drawing on paper was glued to the block. Either way, the artist's drawing was destroyed during the cutting procedure. Other methods were used, including tracing.

In both Europe and Eastern asia in the early 20th century, some artists began to do the whole process themselves. In Nihon, this movement was called sōsaku-hanga ( 創作版画 , creative prints ), every bit opposed to shin-hanga ( 新版画 , new prints ), a movement that retained traditional methods. In the W, many artists used the easier technique of linocut instead.

Methods of printing [edit]

The Crab that played with the sea, Woodcut by Rudyard Kipling illustrating one of his Just And then Stories (1902). In mixed white-line (below) and normal woodcut (higher up).

Compared to intaglio techniques like carving and engraving, only low pressure is required to impress. Every bit a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or fabric to achieve an acceptable print. In Europe, a variety of woods including boxwood and several nut and fruit woods like pear or crimson were commonly used;^[2] in Japan, the wood of the cherry species Prunus serrulata was preferred.^{[ citation needed ]}

At that place are three methods of printing to consider:

Stamping: Used for many fabrics and most early European woodcuts (1400–forty). These were printed by putting the paper/fabric on a table or other flat surface with the cake on top, and pressing or hammering the back of the block.
Rubbing: Apparently the most mutual method for Far Eastern printing on paper at all times. Used for European woodcuts and block-books later in the fifteenth century, and very widely for cloth. Also used for many Western woodcuts from near 1910 to the present. The block goes face up up on a table, with the paper or fabric on top. The dorsum is rubbed with a "hard pad, a flat slice of wood, a burnisher, or a leather frotton".^[iii] A traditional Japanese tool used for this is chosen a baren. Later in Japan, circuitous wooden mechanisms were used to assistance hold the woodblock perfectly still and to apply proper pressure level in the printing process. This was peculiarly helpful once multiple colors were introduced and had to be practical with precision atop previous ink layers.
Printing in a press: presses only seem to take been used in Asia in relatively recent times. Press-presses were used from about 1480 for European prints and block-books, and before that for woodcut book illustrations. Simple weighted presses may have been used in Europe before the impress-printing, but firm evidence is lacking. A deceased Abbess of Mechelen in 1465 had "unum instrumentum ad imprintendum scripturas et ymagines ... cum 14 aliis lapideis printis"—"an instrument for printing texts and pictures ... with 14 stones for printing". This is probably besides early on to be a Gutenberg-blazon printing press in that location.^[3]

History [edit]

Main articles Old master print for Europe, Woodblock printing in Japan for Japan, and Lubok for Russia

Madonna del Fuoco (Madonna of the Burn down, c. 1425), Cathedral of Forlì, in Italian republic

A less sophisticated woodcut volume analogy of the Hortus Sanitatis lapidary, Venice, Bernardino Benaglio e Giovanni de Cereto (1511)

Woodcut originated in Communist china in antiquity as a method of printing on textiles and later on paper. The earliest woodblock printed fragments to survive are from China, from the Han dynasty (earlier 220), and are of silk printed with flowers in three colours.^[four] "In the 13th century the Chinese technique of blockprinting was transmitted to Europe."^[5] Paper arrived in Europe, too from China via al-Andalus, slightly later on, and was being manufactured in Italy by the cease of the thirteenth century, and in Burgundy and Deutschland by the end of the fourteenth.

In Europe, woodcut is the oldest technique used for quondam main prints, developing about 1400, past using, on paper, existing techniques for printing. One of the more than ancient woodcuts on paper that can exist seen today is The Fire Madonna (Madonna del Fuoco, in the Italian language), in the Cathedral of Forlì, in Italian republic.

The explosion of sales of cheap woodcuts in the heart of the century led to a fall in standards, and many popular prints were very crude. The development of hatching followed on rather later than engraving. Michael Wolgemut was pregnant in making German woodcuts more sophisticated from about 1475, and Erhard Reuwich was the first to use cross-hatching (far harder to do than engraving or etching). Both of these produced mainly volume-illustrations, as did diverse Italian artists who were likewise raising standards in that location at the aforementioned period. At the cease of the century Albrecht Dürer brought the Western woodcut to a level that, arguably, has never been surpassed, and profoundly increased the status of the "single-leaf" woodcut (i.e. an image sold separately).

Because woodcuts and movable type are both relief-printed, they can easily be printed together. Consequently, woodcut was the primary medium for book illustrations until the late sixteenth century. The starting time woodcut book illustration dates to nigh 1461, merely a few years after the beginning of press with movable type, printed by Albrecht Pfister in Bamberg. Woodcut was used less frequently for individual ("single-leafage") fine-art prints from about 1550 until the late nineteenth century, when interest revived. It remained of import for popular prints until the nineteenth century in almost of Europe, and subsequently in some places.

The art reached a high level of technical and artistic development in Eastward Asia and Iran. Woodblock press in Japan is called moku-hanga and was introduced in the seventeenth century for both books and art. The popular "floating world" genre of ukiyo-e originated in the second half of the seventeenth century, with prints in monochrome or two colours. Sometimes these were hand-coloured afterward press. Afterwards, prints with many colours were developed. Japanese woodcut became a major artistic class, although at the fourth dimension it was accorded a much lower status than painting. It continued to develop through to the twentieth century.

White-line woodcut [edit]

Using a handheld gouge to cut a "white-line" woodcut design into Japanese plywood. The pattern has been sketched in chalk on a painted face of the plywood.

This technique but carves the prototype in more often than not thin lines, like to a rather rough engraving. The block is printed in the normal way, and then that well-nigh of the print is black with the image created by white lines. This procedure was invented by the sixteenth-century Swiss artist Urs Graf, only became most popular in the nineteenth and twentieth century, often in a modified course where images used large areas of white-line assorted with areas in the normal black-line fashion. This was pioneered by Félix Vallotton.

Japonism [edit]

In the 1860s, but as the Japanese themselves were becoming enlightened of Western art in general, Japanese prints began to accomplish Europe in considerable numbers and became very fashionable, especially in France. They had a great influence on many artists, notably Édouard Manet, Pierre Bonnard, Henri de Toulouse-Lautrec, Edgar Degas, Paul Gauguin, Vincent van Gogh, Félix Vallotton and Mary Cassatt. In 1872, Jules Claretie dubbed the tendency "Le Japonisme".^[6]

Though the Japanese influence was reflected in many artistic media, including painting, it did lead to a revival of the woodcut in Europe, which had been in danger of extinction every bit a serious art medium. Virtually of the artists above, except for Félix Vallotton and Paul Gauguin, in fact used lithography, especially for coloured prints. See beneath for Japanese influence in illustrations for children's books.

Artists, notably Edvard Munch and Franz Masereel, connected to use the medium, which in Modernism came to entreatment because information technology was relatively easy to complete the whole procedure, including press, in a studio with little special equipment. The German language Expressionists used woodcut a good deal.

Colour [edit]

Coloured woodcuts kickoff appeared in ancient China. The oldest known are three Buddhist images dating to the 10th century. European woodcut prints with coloured blocks were invented in Germany in 1508, and are known every bit chiaroscuro woodcuts (run into below). However, colour did non become the norm, equally it did in Japan in the ukiyo-e and other forms.

In Europe and Japan, colour woodcuts were normally merely used for prints rather than volume illustrations. In China, where the individual print did not develop until the nineteenth century, the opposite is true, and early color woodcuts mostly occur in luxury books about fine art, particularly the more prestigious medium of painting. The first known example is a book on ink-cakes printed in 1606, and colour technique reached its height in books on painting published in the seventeenth century. Notable examples are Hu Zhengyan'south Treatise on the Paintings and Writings of the Ten Bamboo Studio of 1633,^[vii] and the Mustard Seed Garden Painting Transmission published in 1679 and 1701.^[viii]

In Japan colour technique, called nishiki-due east in its fully adult form, spread more widely, and was used for prints, from the 1760s on. Text was nearly always monochrome, as were images in books, but the growth of the popularity of ukiyo-e brought with information technology demand for ever-increasing numbers of colors and complexity of techniques. By the nineteenth century nearly artists worked in colour. The stages of this evolution were:

Sumizuri-due east (墨摺り絵, "ink printed pictures") – monochrome press using just black ink
Benizuri-e (紅摺り絵, "ruby-red printed pictures") – red ink details or highlights added by mitt after the printing process；light-green was sometimes used as well
Tan-eastward (丹絵) – orange highlights using a red pigment called tan
Aizuri-e (藍摺り絵, "indigo printed pictures"), Murasaki-east (紫絵, "purple pictures"), and other styles that used a unmarried color in addition to, or instead of, black ink
Urushi-e (漆絵) – a method that used glue to thicken the ink, emboldening the image; gold, mica and other substances were often used to enhance the image further. Urushi-eastward tin also refer to paintings using lacquer instead of paint; lacquer was very rarely if ever used on prints.
Nishiki-due east (錦絵, "brocade pictures") – a method that used multiple blocks for carve up portions of the image, then a number of colors could attain incredibly complex and detailed images; a dissever block was carved to apply only to the portion of the epitome designated for a single color. Registration marks called kentō (見当) ensured correspondence between the awarding of each cake.

A number of different methods of colour printing using woodcut (technically Chromoxylography) were adult in Europe in the 19th century. In 1835, George Baxter patented a method using an intaglio line plate (or occasionally a lithograph), printed in blackness or a dark colour, and and so overprinted with upwardly to twenty dissimilar colours from woodblocks. Edmund Evans used relief and wood throughout, with upwardly to 11 different colours, and latterly specialized in illustrations for children'due south books, using fewer blocks but overprinting not-solid areas of colour to achieve blended colours. Artists such equally Randolph Caldecott, Walter Crane and Kate Greenaway were influenced by the Japanese prints now bachelor and fashionable in Europe to create a suitable fashion, with flat areas of color.

In the 20th century, Ernst Ludwig Kirchner of the Die Brücke group adult a process of producing colored woodcut prints using a unmarried block applying different colors to the cake with a brush à la poupée and so printing (halfway betwixt a woodcut and a monotype).^[nine] A remarkable example of this technique is the 1915 Portrait of Otto Müller woodcut print from the collection of the British Museum.^[10]

Gallery of Asian woodcuts [edit]

Chiaroscuro woodcuts [edit]

Chiaroscuro woodcut depicting Playing cupids by bearding 16th-century Italian creative person

Chiaroscuro woodcuts are old master prints in woodcut using ii or more blocks printed in unlike colours; they do not necessarily feature strong contrasts of calorie-free and night. They were starting time produced to achieve similar effects to chiaroscuro drawings. Later some early experiments in book-press, the true chiaroscuro woodcut conceived for 2 blocks was probably first invented by Lucas Cranach the Elderberry in Germany in 1508 or 1509, though he backdated some of his first prints and added tone blocks to some prints beginning produced for monochrome press, swiftly followed past Hans Burgkmair.^[xi] Despite Giorgio Vasari's claim for Italian precedence in Ugo da Carpi, it is articulate that his, the first Italian examples, appointment to around 1516.^[12] ^[13]

Other printmakers to utilise the technique include Hans Baldung and Parmigianino. In the German states the technique was in use largely during the offset decades of the sixteenth century, but Italians continued to utilise it throughout the century, and later artists similar Hendrik Goltzius sometimes made utilize of it. In the German mode, one cake usually had only lines and is called the "line block", whilst the other cake or blocks had flat areas of colour and are called "tone blocks". The Italians unremarkably used merely tone blocks, for a very different event, much closer to the chiaroscuro drawings the term was originally used for, or to watercolor paintings.^[fourteen]

The Swedish printmaker Torsten Billman (1909–1989) developed during the 1930s and 1940s a variant chiaroscuro technique with several greyness tones from ordinary printing ink. The art historian Gunnar Jungmarker (1902–1983) at Stockholm's Nationalmuseum chosen this technique "grisaille woodcut". It is a time-consuming printing procedure, exclusively for manus press, with several greyness-wood blocks aside from the black-and-white fundamental block.^[15]

Modern woodcut printing in Mexico [edit]

José Guadalupe Posada, Calavera Oaxaqueña, 1910

Woodcut printmaking became a popular form of art in Mexico during the early to mid 20th century.^[1] The medium in Mexico was used to convey political unrest and was a form of political activism, especially afterward the Mexican Revolution (1910–1920). In Europe, Russia, and China, woodcut fine art was beingness used during this fourth dimension as well to spread leftist politics such as socialism, communism, and anti-fascism.^[16] In Mexico, the art manner was made popular by José Guadalupe Posada, who was known as the male parent of graphic art and printmaking in Mexico and is considered the first Mexican modern artist.^[17] ^[18] He was a satirical cartoonist and an engraver before and during the Mexican Revolution and he popularized Mexican folk and indigenous art. He created the woodcut engravings of the iconic skeleton (calaveras) figures that are prominent in Mexican arts and culture today (such every bit in Disney Pixar's Coco).^[xix] Come across La Calavera Catrina for more on Posada'southward calaveras.

In 1921, Jean Charlot, a French printmaker moved to United mexican states City. Recognizing the importance of Posada's woodcut engravings, he started education woodcut techniques in Coyoacán'due south open-air fine art schools. Many young Mexican artists attended these lessons including the Fernando Leal.^[17] ^[eighteen] ^[20]

Later on the Mexican Revolution, the country was in political and social upheaval - there were worker strikes, protests, and marches. These events needed cheap, mass-produced visual prints to exist pasted on walls or handed out during protests.^[17] Information needed to be spread quickly and cheaply to the general public.^[17] Many people were still illiterate during this fourth dimension and at that place was push afterwards the Revolution for widespread education. In 1910 when the Revolution began, only 20% of Mexican people could read.^[21] Art was considered to exist highly important in this cause and political artists were using journals and newspapers to communicate their ideas through illustration.^[18] El Machete (1924–29) was a popular communist journal that used woodcut prints.^[eighteen] The woodcut fine art served well because it was a popular style that many could understand.

Artists and activists created collectives such equally the Taller de Gráfica Popular (TGP) (1937–present) and The Treintatreintistas (1928–1930) to create prints (many of them woodcut prints) that reflected their socialist and communist values.^[22] ^[20] The TGP attracted artists from all around the earth including African American printmaker Elizabeth Catlett, whose woodcut prints later influenced the art of social movements in the U.s. in the 1960s and 1970s.^[ane] The Treintatreintistas even taught workers and children. The tools for woodcut are easily accessible and the techniques were uncomplicated to acquire. It was considered an art for the people.^[20]

United mexican states at this fourth dimension was trying to find its identity and develop itself as a unified nation. The form and style of woodcut aesthetic immune a various range of topics and visual culture to expect unified. Traditional, folk images and avant-garde, mod images, shared a like artful when it was engraved into wood. An image of the countryside and a traditional farmer appeared similar to the image of a urban center.^[twenty] This symbolism was beneficial for politicians who wanted a unified nation. The physical actions of etching and printing woodcuts too supported the values many held nearly manual labour and supporting worker's rights.^[twenty]

Current woodcut practices in Mexico [edit]

Today, in Mexico the activist woodcut tradition is nevertheless alive. In Oaxaca, a collective called the Asamblea De Artistas Revolucionarios De Oaxaca (ASARO) was formed during the 2006 Oaxaca protests. They are committed to social modify through woodcut art.^[23] Their prints are made into wheat-paste posters which are secretly put upwards around the urban center.^[24] Artermio Rodriguez is another artist who lives in Tacambaro, Michoacán who makes politically charged woodcut prints most gimmicky problems.^[1]

Famous works in woodcut [edit]

Europe

Ars moriendi
Dürer'due south Rhinoceros
Keepsake books
Four Horsemen of the Apocalypse
Hypnerotomachia Poliphili
Just So Stories
Lubok prints
Nuremberg Chronicle

Nippon (Ukiyo-e)

Takiyasha the Witch and the Skeleton Spectre
The Dream of the Fisherman'south Married woman
Thirty-half dozen Views of Mount Fuji (includes The Swell Wave off Kanagawa)

Notable artists [edit]

The Prophet, woodcut by Emil Nolde, 1912, various collections

Irving Amen
Mary Azarian
Aubrey Beardsley
Hans Baldung
Leonard Baskin
Gustave Baumann
Torsten Billman
Carroll Thayer Drupe
Emma Bormann
Erich Buchholz
Hans Burgkmair
Domenico Campagnola
Ugo da Carpi
Baton Childish
Salvador Dalí
Gustave Doré
Albrecht Dürer
M. C. Escher
James Flora
Antonio Frasconi
Robert Gibbings
Vincent van Gogh
Urs Graf
Suzuki Harunobu
Hiroshige
Damien Hirst
Jacques Hnizdovsky
Hokusai
Tom Huck
Stephen Huneck
Alfred Garth Jones
Hussein el gebaly
Ernst Ludwig Kirchner
Gaga Kovenchuk
Käthe Kollwitz
J.J. Lankes
James Duard Marshall
Frans Masereel
Hishikawa Moronobu
Edvard Munch
Emil Nolde
Giovanni Battista Palumba (Principal I.B. with a Bird)
Jacob Pins
J. K. Posada
Endi E. Poskovic
Hannah Tompkins
Henriette Tirman
Clément Serveau
Paul Signac
Eric Slater
Marcelo Soares
Utamaro
Félix Vallotton
Karel Vik
Leopold Wächtler
Sylvia Solochek Walters
Susan Dorothea White

Stonecut [edit]

In parts of the world (such as the arctic) where wood is rare and expensive, the woodcut technique is used with rock as the medium for the engraved image.^[25]

See as well [edit]

Cake book – Early Western block-printed book
Chiaroscuro – Employ of strong contrasts betwixt light and dark in art
Cordel literature – Brazilian literary genre
Linocut – Printmaking technique
Metalcut – Early on printmaking technique
Old master impress – Work of fine art made printing on newspaper in the Due west
Printmaking – Process of creating artworks past press, unremarkably on paper
Rubber postage – Small tool for over-printing
Shin-hanga – "New prints": 20C Japanese fine art movement
Sōsaku-hanga – "Creative prints" 20C Japanese art movement
Wood etching – Form of working woods by means of a cutting tool
Woodblock printing – Early printing technique using carved wooden blocks
Ukiyo-e – Genre of Japanese art which flourished from the 17th through 19th centuries

Notes [edit]

^ ^a ^b ^c ^d "Gouge: The Modern Woodcut 1870 to At present – Hammer Museum". The Hammer Museum . Retrieved xviii March 2019.
^ Landau & Parshall, 21–22; Uglow, 2006. p. xiii.
^ ^a ^b Hind, Arthur M. (1963). An Introduction to a History of Woodcut. Houghton Mifflin Co. 1935 (in The states), reprinted Dover Publications, 1963. pp. 64–94. ISBN978-0-486-20952-4.
^ Shelagh Vainker in Anne Farrer (ed), "Caves of the Thousand Buddhas", 1990, British Museum publications, ISBN 0-7141-1447-two
^ Hsü, Immanuel C. Y. (1970). The Ascension of Modernistic China. New York: Oxford University Press. p. 830. ISBN978-0-nineteen-501240-8.
^ Ives, C F (1974). The Neat Wave: The Influence of Japanese Woodcuts on French Prints . The Metropolitan Museum of Fine art. ISBN978-0-87099-098-4.
^ "Shi zhu zhai shu hua pu, or, Ten Bamboo Studio collection of calligraphy and painting". Cambridge Digital Library. Retrieved 11 Baronial 2015.
^ L Sickman & A Soper, "The Art and Compages of Communist china", Pelican History of Art, 3rd ed 1971, Penguin, LOC 70-125675
^ Carey, Frances; Griffiths, Antony (1984). The Print in Germany, 1880–1933: The Age of Expressionism. London: British Museum Press. ISBN978-0-7141-1621-i.
^ "Portrait of Otto Müller (1983,0416.three)". British Museum Collection Database. London: British Museum. Retrieved v June 2010.
^ so Landau and Parshall, 179–192; but Bartrum, 179 and Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna, Imperial Academy, London, March–June 2014, exhibition guide, both credit Cranach with the innovation in 1507.
^ Landau and Parshall, 150
^ "Ugo da Carpi afterward Parmigianino: Diogenes (17.50.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art". Metmuseum.org. 3 February 2012. Retrieved 18 February 2012.
^ Landau and Parshall, The Renaissance Print, pp. 179–202; 273–81 & passim; Yale, 1996, ISBN 0-300-06883-2
^ Sjöberg, Leif, Torsten Billman and the Woods Engraver'southward Art, pp. 165–171. The American Scandinavian Review, Vol. LXI, No. ii, June 1973. New York 1973.
^ Hung, Chang-Tai (1997). "Two images of Socialism: Woodcuts in Chinese Communist Politics". Comparative Studies in Society and History. 39 (1): 34–threescore. JSTOR 179238.
^ ^a ^b ^c ^d McDonald, Marking (2016). "Printmaking in Mexico, 1900–1950". The Metropolitan Museum of Fine art.
^ ^a ^b ^c ^d Azuela, Alicia (1993). "El Machete and Frente a Frente: Art Committed to Social Justice in Mexico". Art Journal. 52 (ane): 82–87. doi:10.2307/777306. ISSN 0004-3249. JSTOR 777306.
^ Wright, Melissa Due west. (2017). "Visualizing a state without a future: Posters for Ayotzinapa, United mexican states and the struggles against state terror". Geoforum. 102: 235–241. doi:10.1016/j.geoforum.2017.ten.009. S2CID 149103719.
^ ^a ^b ^c ^d ^eastward Montgomery, Harper (December 2011). ""Enter for Complimentary": Exhibiting Woodcuts on a Street Corner in Mexico City". Art Journal. 70 (4): 26–39. doi:10.1080/00043249.2011.10791070. ISSN 0004-3249. S2CID 191506425.
^ "United mexican states: An Emerging Nation'southward Struggle Toward Teaching". Compare: A Journal of Comparative and International Education. five (ii): viii–10. i September 1975. doi:10.1080/03057927509408824. ISSN 0305-7925.
^ Avila, Theresa (4 May 2014). "El Taller de Gráfica Popular and the Chronicles of Mexican History and Nationalism". Third Text. 28 (iii): 311–321. doi:10.1080/09528822.2014.930578. ISSN 0952-8822. S2CID 145728815.
^ "ASARO—Asamblea de Artistas Revolucionarios de Oaxaca | Jordan Schnitzer Museum of Art". jsma.uoregon.edu . Retrieved 24 March 2019.
^ Graham De La Rosa, Michael; Gilbert, Samuel (25 March 2017). "Oaxaca'southward revolutionary street art". Al Jazeera . Retrieved 23 March 2019.
^ John Feeney (1963). Eskimo Artist Kenojuak. National Motion picture Board of Canada.

References [edit]

Bartrum, Giulia; German Renaissance Prints, 1490–1550; British Museum Press, 1995, ISBN 0-7141-2604-7
Lankes, JJ (1932). A Woodcut Manual. H. Holt.
David Landau & Peter Parshall, The Renaissance Print, Yale, 1996, ISBN 0-300-06883-two
Uglow, Jenny (2006). Nature'due south Engraver: A Life of Thomas Bewick. Faber and Faber.

External links [edit]

Wikimedia Eatables has media related to Woodcuts.

Ukiyo-eastward from the Metropolitan Museum of Art Timeline of Art History
Woodcut in Europe from the Metropolitan Museum of Fine art Timeline of Art History
Italian Renaissance Woodcut Book Illustration from the Metropolitan Museum of Fine art Timeline of Art History
Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains textile on woodcuts
Museum of Modern Art data on printing techniques and examples of prints.
Woodcut in early on printed books (online exhibition from the Library of Congress)
A collection of woodcuts images can be institute at the University of Houston Digital Library Archived i November 2012 at the Wayback Machine
Meditations, or the Contemplations of the Most Devout is a 15th-century publication that is considered the commencement Italian illustrated book, using early woodcut techniques.

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Source: https://en.wikipedia.org/wiki/Woodcut