Library Of Congress Magazine- January/February 2021

2y ago
134 Views
2 Downloads
3.54 MB
32 Pages
Last View : 17d ago
Last Download : 2m ago
Upload by : Joao Adcock
Transcription

LIBRARY OF CONGRESS MAGAZINEJANUARY/FEBRUARY 2021THEARTOF THEBOOKInsideAramont Library: InPursuit of PerfectionDigging the Medievalin Our Digital AgePlusDesigning a MysteryPerry at Edo BayA Gem for the Pocket

FEATURES101218Appreciating the work ofmedieval masters in theDigital Age.A newly acquired libraryoffers stunning examples ofbook design and illustration.Over centuries, the formevolved from its origins towildly expressive objects.Digging the MedievalLIBRARY OF CONGRESS MAGAZINEIn Pursuit of Perfection Art of the Book Johann Fust and PeterSchoeffer printed thislarge, red and blue initialin Mainz, Germany, in 1459,just five years after theprinting of the GutenbergBible. Rare Book andSpecial Collections Division

On the cover: In her “Random Thoughts on Hope,” Laura Davidsonchallenges conceptions of what defines a book as well as what constitutespoetry by creating a poem that changes randomly each time a wheel ofwords is spun. John PolakLIBRARY OF CONGRESS MAGAZINEJANUARY / FEBRUARY 2021VOL. 10 NO. 1Mission of theLibrary of CongressThe Library’s mission is to engage,inspire and inform Congressand the American people with auniversal and enduring source ofknowledge and creativity.Library of Congress Magazine isissued bimonthly by the Office ofCommunications of the Libraryof Congress and distributedfree of charge to publiclysupported libraries and researchinstitutions, donors, academiclibraries, learned societies andallied organizations in the UnitedStates. Research institutions andeducational organizations in othercountries may arrange to receiveLibrary of Congress Magazine onan exchange basis by applying inwriting to the Library’s Directorfor Acquisitions and BibliographicAccess, 101 Independence Ave.S.E., Washington DC 205404100. LCM is also available onthe web at loc.gov/lcm/. Allother correspondence shouldbe addressed to the Office ofCommunications, Library ofCongress, 101 Independence Ave.S.E., Washington DC 20540-1610.news@loc.govloc.gov/lcmISSN 2169-0855 (print)ISSN 2169-0863 (online)DEPARTMENTS2Off the Shelf3Trending4Extremes6Technology7Page from the Past8Curator’s Picks22Online Offerings23Favorite Place24My Job25News Briefs26Shop the Library27Support the Library28Last Word38Carla HaydenLibrarian of Congress22April SlaytonExecutive EditorMark HartsellEditorAshley JonesDesignerShawn MillerPhoto EditorContributorsMark DimunationEric FrazierSybille JaguschRussell MaretMarianna StellStephanie StilloNeely TuckerCONNECT ON28loc.gov/connectJANUARY/FEBRUARY 2021 LOC.GOV/LCM1

OFF THE SHELF Victor Hammerengraved and cut thiscapital G in brass,testing his theory ofhow early printersmanaged to createperfectly registered,two-color initials usingonly rudimentary tools.Rare Book and SpecialCollections DivisionDESIGNING AMYSTERYCollections offer a clue to howearly book printers producedtwo-color initials.The big, elaborate initial letters found inearly printed books are a beautiful hallmarkof the form — and a modern mystery.Scholars aren’t quite certain how the firstmakers of printed books, working 400 yearsago with only rudimentary tools, managedto produce the near-perfect registrationof these two-color, decorated initials.Library collections offer a potential answer.Painter and typographer Victor Hammeris best known in America for creatingseveral new typefaces. His wife, CarolynReading Hammer, founded the KingLibrary Press at the University of Kentuckyin Lexington, where Victor eventuallysettled after fleeing Vienna during WorldWar II and where he died in 1967.The Victor and Carolyn Hammer Collectionat the Library contains correspondence,prints, engravings, photographs andpublications created between 1920 and2LIBRARY OF CONGRESS MAGAZINE1999. Some of the most interesting piecesinvolve Victor’s attempt to explain how earlyprinters were able to achieve such excellentregistration of these two-color initials.Johann Fust and Peter Schoeffer served,respectively, as the financier and apprenticeto Johann Gutenberg, the inventor whointroduced the mechanical moveabletype printing press in Europe in the mid1400s. They would produce some of themost beautiful work in the first 50 yearsof printing (see inside front cover).How Fust and Schoeffer createdthese nearly perfectly registeredtwo-color decorative initials longleft bibliographers guessing.Hammer proposed that the early printersmay have cut the letter from its decorativeborder, inked it separately with a hand roller(a brayer) and carefully slipped it back intothe printing block. The Hammer collectionholds his examples of the process; eachinitial is engraved in brass and cut byHammer himself. Without this process, thepage would have to go through the pressonce for each color, lining up each pageperfectly. This process explored by Hammermay have been a faster, more-effectiveway of producing these beautiful images.—Eric Frazier is a reference specialist in theRare Book and Special Collections Division.

TRENDINGMORE OF LESSINGAn ongoing digitization projectmakes a magnificent collectionmore widely accessible.The Rare Book and Special Collections Divisionrecently launched a multiyear initiative todigitize one of the most important illustratedbook collections in the Western Hemisphere —the Lessing J. Rosenwald Collection.Upon its donation in 1943, then-Librarianof Congress Archibald MacLeish called thecollection “one of the most exciting andwelcome gifts ever received” by the Library.It’s easy to see why.Throughout his life, Lessing Rosenwald (1891–1979), son of notable philanthropist JuliusRosenwald, collected prints and illustratedbooks that visualized the most importantmoments in Western history: the dawn ofprinting, the Reformation, the ScientificRevolution, the Enlightenment and more.The collection Rosenwald amassed eventuallycame to include, among many other examples,such magnificent rarities as the 15th-centuryGiant Bible of Mainz; four complete booksproduced by William Caxton, England’s finestprinter; and one of only two known copies ofthe 1495 edition of Epistolae et Evangelia, calledby some the finest book of the 15th century.While digitization is ongoing, book loverscan access thousands of pages of text andillustration, from 15th-century medical treatisesand folk tales to 18th-century architecture.Particularly exciting is the availability ofmaterial associated with 18th-century poet,painter and illustrator William Blake. Blakeused his printing press to engage with topicsas far ranging as inequality and exploitation torebellion and rebirth. The Rosenwald Collectioncontains copies of all his illustrated books,including a comprehensive corpus of hiscontinental prophecies, illustrated epics andcommissioned books, as well as rarely seendrawings, canceled plates and personal letters.This digitization project will make such greatworks more readily available to the public— and, hopefully, inspire curiosity about thehistory of the book and encourage interest inone of America’s greatest book collectors.—Stephanie Stillo is a collections specialist inthe Rare Book and Special Collections Division. This fancifulillustration of a dragonshaped siege machineappears in “De remilitari” (“On militarymatters”), a 15thcentury volume drawnfrom the Lessing J.Rosenwald Collection.Rare Book and SpecialCollections DivisionJANUARY/FEBRUARY 2021 LOC.GOV/LCM3

EXTREMES This Japanese scroll,measuring nearly 13yards in length, depictsscenes from the historicvisit of CommodorePerry’s fleet to Japan in1854. Shawn MillerPERRY AT EDO BAYA 38-foot scroll chronicles thedawn of the U.S.-Japaneserelationship.The Black Ship scrolls are a genre ofJapanese artwork that capture the historicmeeting of two alien cultures: That 1854moment when U.S. Commodore MatthewPerry and his fleet barged into Edo Bay, gunsat the ready, to negotiate a treaty with aJapanese government that had been almostcompletely isolated for two centuries.It was an astonishing moment. Perry insistedhe was bringing “civilization” to “heathens”who had expelled Christian missionariesearly in the 17th century. To the Japanese,Perry’s crew were “barbarians” and theirblack-hulled steamships, billowing blacksmoke, were monstrous behemoths fromanother world.One of the most famous depictions of thosetense days is “Kinkai kikan” (“Strange Viewoff the Coast of Kanagawa”) by Japaneseartist, scholar and educator Otsuki Bankei.Bankei, with the help of two assistantpainters, created a pictorial scroll nearly38 feet long — 30 sections of rice paper,delicately glued together, depicting 20scenes from the Americans’ four-monthstay. Wrapped around a spindle and storedin a wooden box for most of the past 150years, it was acquired by the Library froma rare book dealer in 2018 and is not yet onpublic display.4LIBRARY OF CONGRESS MAGAZINEJapan had been sealed off from most ofthe outside world for nearly 200 years. U.S.President Millard Fillmore dispatched Perrywith an audacious plan — to open up Japanto a relationship with the United States.Perry first sailed into Edo (now Tokyo) Bay inJuly 1853 and presented a letter intended forthe emperor. He returned the next year withnine ships and nearly 2,000 sailors to get aresponse — gunboat diplomacy in its mostbasic form. Perry came ashore, negotiatedwith emissaries and signed the landmarkKanagawa Treaty on March 31, 1854. Japanwould no longer be a closed country — amajor turning point in international affairs.In this hubbub, Bankei and other artistssketched away, creating the only visualrecords of the event. Bankei depicted theblues and greens of the bay, with Perry’sfleet off shore. He painted each ship andshowed the Americans coming ashore andgreeting Japanese dignitaries. Ever thejournalist, he even sketched out the seatingchart at a formal dinner. Finally, he paintedportraits of the American leaders and a fewsoldiers. Many were unflattering, almostcaricatures — the Americans appear in twodimensions, with enormous noses and dulleyes. Perry called them “exceedingly rudeand inartistic.”Still, Bankei’s scroll catches the two cultureson the cusp of vast change, in his ownhand, as it transpired in front of him. As art,it is invaluable reportage; as reportage, it isdelicate art.—Neely Tucker is a writer-editor in the Officeof Communications.

JANUARY/FEBRUARY 2021 LOC.GOV/LCM5

TECHNOLOGY Tamara Ohanyan of theConservation Divisionbuilt this model to helpconservators betterunderstand the methodsbookmakers used intheir work centuries ago.Tamara OhanyanINSIDE STORYModels give conservatorsinsight into the inner structureof historical books.Inside every historical book is ahidden story, one that reveals howthe object itself was made.Conservators at the Library of Congressstudy the construction of ancientvolumes in order to learn more abouttheir inner structure and how to betterpreserve them for future generations.One way they do so is by buildingmodels that let them “see inside” abook’s covers to its invisible or hiddenstructural components — the boardattachments, endbands, fastenings andsewing that hold a book together andallow it to withstand centuries of use.Books from different regions and erashave unique methods of construction andare built from place-specific materials: Abook made in England in the 1400s was notmade in the same way as one crafted inArmenia even during the same time period.The textblock and endbands were sewn indistinctive and completely different ways,as well as the board attachment and thedecoration.The models help conservators identifyconstruction methods and materials specific6LIBRARY OF CONGRESS MAGAZINEto regions and to identify damage thathas been caused over time by use, suchas how the boards have become loose ordetached, or the sewing or sewing supportshave weakened or broken. Then, armedwith a better understanding, conservatorscan chart the best course for treatment.Tamara Ohanyan of the Library’sConservation Division has built modelsof works both from Library collectionsand those of other institutions: Armenian,Byzantine, European, Persian and Ethiopianbindings as well as bindings of the NagHammadi library, a cache of leatherbound, Gnostic Christian texts from thefourth-century that were discoveredburied in a sealed jar in Egypt in 1945.That books in the Library’s collections stillcan serve their purpose centuries afterthey were made attests to the skill of theiroriginal makers and the durability of theircreations.“There are hundreds of books in ourcollections with contemporary bindingsand in very good condition,” Ohanyan says.“This is another proof of highly developedcraftsmanship in ancient bookbindingtraditions.”Finding new ways of looking at old bookshelps ensure that they will be around forcenturies to come, for new generations ofreaders.—Mark Hartsell

PAGE FROM THE PAST This 18th-centuryhornbook holds a page thatintroduced children to thealphabet and the Lord’sPrayer; the strings of beadsserved as an abacus to helpthem learn to count andadd. Rare Book and SpecialCollections DivisionJUST FOR KIDSHornbooks served as a primerand classroom for children.It was not until the late 18th centurythat school-aged children had teachingmaterials designed expressly for their use.Children were viewed as small adults, andtheir education developed accordingly.Small books for small hands wereuncommon. And other than chapbooksand word lists, few devices were availableto introduce a child to the world ofreading and mathematics. So, from themid-16th century to the 19th century,the hornbook took on the roles of theprimer and classroom for children.A child’s introduction to the alphabet andnumbers was found on a small, paddleshaped object made of wood, leatheror bone. Attached was a small printedsheet, usually displaying the alphabet inupper and lower case, the vowels andconsonants, a run of numbers or Romannumerals, and the Lord’s Prayer. The sheetwas covered by a transparent shaving ofhorn, hence the designation of hornbook,or occasionally by a sheet of mica.Some hornbooks also had a string ofbeads, a childlike abacus for counting.Intended to hang from a child’s belt, thehornbook was a constant companion,an aid in reciting and memorizing thefundamentals of reading and mathematics.Depending on the circumstances of theiruse, the object ranged from primitive toluxurious, and the function of the hornbookranged from didactic to ornamental.—Mark Dimunation is chief of the Rare Bookand Special Collections Division.JANUARY/FEBRUARY 2021 LOC.GOV/LCM7

CURATOR'S PICKSTHE BEAUTIFULBOOKMark Dimunation andStephanie Stillo choosefavorite examples ofdecorated books from Librarycollections.CLOTH PUBLISHERS’BINDINGSThe introduction of steam-poweredmachinery in the mid-19th century changedthe fundamental nature of the book.Machines made it possible, among otheradvances, to replace hand-sewn stitchedin leather bindings with case bindings — aflat, cloth-covered cardboard glued to thespine. The new binding allowed bookmakersto run the cover through the press, resultingin covers that blazed with detail and colorfuldecoration such as blind stamping, goldembossing and color printing. Most notableamong cover designers was MargaretArmstrong, whose stylized works — such asthis one, stamped in bold, contrasting colorsand enhanced with gold and silver leaf —have exceptional visual appeal.8LIBRARY OF CONGRESS MAGAZINEEMBROIDERED BINDINGSElaborate embroidered bindings, modeledafter popular images in books and paintings,reached popularity in 17th-century England.This Book of Psalms is bound in a purplesatin embroidered with pearls, bullion andcolored silks. Small embroidered prayerbooks such as this most often were luxurydevotional objects reserved for women.

FORE-EDGE PAINTINGSThe urge to enhance the physical bookdates as far back as the arrival of the codex.The fore edge (the outer edge of the bookother than the spine) has been painted,incised, labeled, gilded and decoratedin various ways for centuries. During theRenaissance, artists began to paint on thesurface of the fore edge, creating sceneseasily visible when the book was closed. Bythe 17th century, binders discovered that ifthe fore edge was planed when clamped atan angle, it created a surface for paintingthat would be viewable only when the bookwas fanned open. With a scene painted onthe angle and the straight edges marbled orgilded, the book was now decorated with anundetectable image, viewable only when thebook was read.VOLVELLESThis extravagant Renaissance astronomymanual, entitled the “AstronomicumCaesareum” (“Emperor’s Astronomy,”1540), employed an elaborate layeringof concentric, rotatable circles called“volvelles” to calculate everything from thelongitude of Mercury to the altitude of stars.Volvelles still can be found in the books ofmodern artists, such as Laura Davidson’s“Random Thoughts on Hope,” which enticesreaders to use a volvelle of words to createpoetry.THE MEDIEVAL BOOKMARKLarge medieval manuscripts and earlyprinted books often were a difficult read,lacking the organizing prompts — pagenumbers, for example — that modern bookspossess. To help readers find their way,bookmakers developed a variety of helpfulguides and place keepers, such as thesebookmarks. The medieval version of themodern thumb index notches found indictionaries, these devices helped markoften-consulted pages of Bibles, choir booksand legal works. They could be vellum tabsor knotted strips of tawed leather attachedto the fore edge of a book, guiding the wayto easy access.JANUARY/FEBRUARY 2021 LOC.GOV/LCM9

10LIBRARY OF CONGRESS MAGAZINE

ON THE SHOULDERSOF GIANTS Opposite: This 15thcentury encyclopedicmanuscript containscompositions that arebuilt to generate mentalassociations.Appreciating medievalmanuscripts in the digital age.BY MARIANNA STELLLike contemporary digital interfaces,medieval manuscripts anticipate anengaged user. Imagine that you areviewing a well-designed webpage frombehind the glass of a museum case. Theglass would prevent you from interactingwith the page as the designer intended.You would be an observer, not a user.Viewing a medieval manuscript withoutinformation about its historical contextcan be a similarly limited experience.Medieval manuscripts are not staticproducts. Like a website, a manuscriptrealizes its purpose in its dynamicengagement with its user. Ratherthan simply instructing readers, amanuscript’s compositional programis designed to move viewers to someaction. The nature of the actiondepends upon the context for which themanuscript was created to function.An illuminated prayer book, like the one atright by the Boucicaut Master, is designedto catch the user’s attention. Light dancesoff the many flecks of gold leaf used inthe borders and the miniatures, catchingthe eye with even the smallest motion andmaking the page appear as though it isillumined from within. Books of Hours likethis one were created to allow laypersonsto participate in the cycle of prayersthat priests and monastic orders kept.Intended to be portable, Books ofHours were sometimes fashionedas a girdle book. A length of clothattached to the binding was tied in aknot and often tucked into a belt foreasy transport. As a consequence,Books of Hours were used at home,at church and even at gravesides.Not all medieval manuscripts werecreated for a ritual context, however.Some manuscripts were created toBelow: Sumptuouslyilluminated prayer books,such as this one by theBoucicaut Master, helpedlaypersons to participatein church rituals. RareBook and SpecialCollections Divisionprompt mental rather than physicalengagement. Manuscripts created forpersonal study assumed use in theactive theater of the reader’s mind. A15th-century encyclopedic manuscriptin the Rosenwald Collection, at left,contains compositions that are built togenerate mental associations. The designis a testament to the medieval creator’sability to nest layers of information intoa central image so that the reader mightmore easily remember the content.A 15th-century reader would recognizean image of what looks to be a piggybackride as referring to a famous metaphorattributed to Bernard of Chartres, whoclaimed that modern scholars (i.e.,those working around 1150 A.D.) are likedwarves being carried by giants. Themodern scholar can see further into thehorizon only because the ancients, likethe giant, have given him a leg up. Modernknowledge therefore rests in a privilegedposition only because of those giants whowrote and studied beforehand. Illustratingthis point, the giant’s surcoat is inscribedwith references to the seven liberalarts, which the medieval educationalsystem inherited from the Romans.The design of the composition movesthe reader around in a circle, like theone labeled “macrocosm” above thehead of the dwarf. By following theinternal itinerary of the page, the readeractively experiences and internalizesits informational content. In so doingthe reader becomes part of themanuscript’s larger message: Eachhuman being is a microcosm of thegreater macrocosm of the universe.For those of us studying book arts inthe digital age, we are the dwarvesand the medieval manuscriptdesigners are our giants.JANUARY/FEBRUARY 2021 LOC.GOV/LCM11

In this 1959 work“Constellations,” pochoirrenderings of Joan Miró’sfamous “Constellations”accompany commentaryby surrealist poet AndreBreton.Opposite: This sunburstbinding by Paul Bonetannounces “Circus ofthe Shooting Star,” aportfolio by Frenchartist Georges Rouault.Rare Book and SpecialCollections DivisionIN PURSUIT OFPERFECTION12LIBRARY OF CONGRESS MAGAZINENewly acquired AramontLibrary offers stunningexamples of book design,illustration and binding.BY STEPHANIE STILLO

What makes a perfect book? Is it thetypography? The illustrations? Thebinding? Is it what someone adds, likea signature, a note or a drawing? Or isit what they take away, like a perfectlytrimmed edge?For the collector of the Aramont Library,a recent donation of over 1,700 volumesto the Rare Book and Special CollectionsDivision, the answer is clear: A perfectbook is one that is unique, surprising orpersonal.It is a rare first edition of James Joyce’s“Ulysses” with a curious annotatedanatomical drawing tipped in. It is asigned 23-volume set of the collectedworks of Joseph Conrad with a uniqueleather vignette on every single cover. Itis a 20th-century edition of the poemsof Baroque poet Luis de Góngora withoriginal illustrations and commentary byPablo Picasso and bound by Paul Bonet.While beauty certainly resides in the eyeof the beholder, it is quite easy to sharethe vision of the collector of the AramontLibrary.In private hands for over 40 years, theAramont Library consists of literaryfirst editions, illustrated books, and anastonishing collection livres d’artiste(books by artists) by some of the mostimportant artists of the 20th century.Many of the books in the collectionare enclosed in fine bindings; stunningexpressions of craft that are moreappropriately described as works of artthan simple bindings.The library began in the early 1980s withsigned and inscribed first editions ofmodernist literature, a genre that criticallyexplored topics such as alienation,disillusionment and fragmentation in theindustrial, postwar West. These rangefrom the poetry of Miguel de Unamunoand Ezra Pound to the novels of WilliamFaulkner, Ernest Hemingway, Virginia Woolfand Willa Cather.Nothing captures the Aramont Library’shunt for perfection better than thecollection’s three first editions of Joyce’sbawdy, stream-of-consciousness novel“Ulysses,” first published in Paris in 1922by Shakespeare & Company. Looselybased on Homer’s “Odyssey,” the novelfollows Joyce’s protagonists as theymeander the streets of Dublin oneday in June, exploring the drama andJANUARY/FEBRUARY 2021 LOC.GOV/LCM13

heroism of everyday people. The rare,and highly sought-after, first editions inthe Aramont Library include inscriptions,signed letters by Joyce, photographs, arare copy of Joyce’s 1920 schema for his“dammed monster novel,” as well as aunique and unusual anatomical figure thatcorresponds to the structure of the book,potentially in the author’s hand.The heart of the Aramont collection is athoughtful assemblage of illustrated booksand livres d’artiste that span from thelate 18th to 20th centuries. The AramontLibrary begins its exploration of illustrationwith the most important Spanish painterand graphic artist of the Baroque period,Francisco Goya (1746-1828). Goya usedthe technique of printing to level piercingcritiques about the world around him.His two most famous series, both in theAramont Library, are “Los Caprichos”(1799), a visual critique of the hypocrisyand foolishness of the Spanish RoyalCourt, and “Los Desastres de la Guerra”(1810-20, published posthumously in1863), a graphic and disturbing exposeabout the horrors of the Peninsular War.From the continental conflicts of theearly modern period to the aestheticsmovements of the 19th century, theAramont Library focuses specifically onthe illustration and bindings of the artsand crafts and art nouveau movements.Disillusioned with the impact ofindustrialization on the aesthetics of theeveryday, notable artists and intellectualslike William Morris (1834-1896) sought toreestablish the close relationship betweenartists, craftsman and final product.The Aramont Library demonstrateshow the arts and craft movementheld a special significance for bookbinders. From the bejeweled bindingsof Sangorski & Sutcliffe to the intricatepointelle patterns of Doves Bindery,binders of the late 19th and early 20thcenturies challenged the mass productionof commercial binderies by craftingcustomized binding for everything fromsingle books to multivolume sets.The late 19th century also witnessedthe rise of art nouveau. Defined by anartistic preference for the sensual, wildand unkempt, the art nouveau aestheticshaped the appearance of everythingfrom commercial advertising to furnituredesign until the start of World War I.14LIBRARY OF CONGRESS MAGAZINE

Clockwise from top left:This hand-drawn map ofDublin appears in a rarefirst edition of JamesJoyce’s 1922 masterpiece,“Ulysses”; artist FranciscoGoya critiqued the hypocrisyand foolishness of theSpanish royal court in his1799 work “Los Caprichos”;Aubrey Beardsley createdthis and other illustrationsto accompany the 1894English translation of OscarWilde’s play about a biblicalfemme fatale, “Salome.”Rare Book and SpecialCollections DivisionTHE ARAMONTLIBRARY CONTAINS ANASTONISHING COLLECTIONOF BOOKS BY SOME OF THEMOST IMPORTANT ARTISTSOF THE 20TH CENTURY.The impact of art nouveau in graphic artis best represented in the Aramont Libraryby the illustrations of Aubrey Beardsley. In1894, Beardsley created illustrations forthe English translation of Oscar Wilde’splay about the biblical femme fatale,Salome. Wilde’s play (by the same name)dramatized an evening of carnal desirethat concluded in the decapitation ofthe itinerant prophet John the Baptist.Banned from stage performances until1896, Beardsley’s illustrations offeredthe play its first visual performancethrough fantastic and erotic imagery thatskillfully elucidated Wilde’s story of femaledomination, sexual desire and death.The Aramont Library’s greatest strengthis its assemblage of livres d’artiste, acorpus of material that reveals the deepand meaningful collaborations betweenartists, authors and publishers duringthe 20th century. These range from theearly post-Impressionist work of PierreBonnard and Henri Matisse to the fauvistrevelations of George Rouault and AndréDerain. From the geometric cubism ofGeorge Braque and Jacques Villon tothe unbridled surrealist visions of MarcChagall, Max Ernst and Dorothea Tanning.For example, “À Toute Épreuve” (1958)was a visual meditation on the surrealistpoetry of Paul Eluard.In the early 1940s, Swiss art dealer andpublisher Gérald Cramer enlisted theexpert vision of surrealist painter JoanMiró to illustrate Eluard’s prose. The nowiconic “À Toute Épreuve” was the resultof a 10-year collaboration between theJANUARY/FEBRUARY 2021 LOC.GOV/LCM15

16LIBRARY OF CONGRESS MAGAZINE

artist, poet and publisher, cut short only bythe death of Eluard in 1952. The result wasa monument to the book as an art object.To create distinctive graphic texture to theimages that would interlace the letterpresspose, Miró glued wire, stones, bark andsand to his woodcuts, assembled discretecollages from old prints and added visualembellishments from mail order catalogs.Many of the livres d’artiste in the AramontLibrary are enclosed in bespoke bindingsthat meditate on the major themes of thetext or the visual contribution of the artist.Rose Adler’s binding for Jean Cocteau’s“The Human Voice,” with illustrations byFrench expressionist Bernard Buffet, usedan assemblage of dyed leather and abaloneshells to depict a large rotary phone, agesture to Cocteau’s emotionally chargednarrative about a woman on the phone withher former lover. The Aramont Library alsoholds six bindings by the most celebratedbinder of the 20th century, Paul Bonet. Thisgathering includes Bonet’s famous sunburstpattern. Perfected by Bonet in the 1930sand 1940s, the pattern uses a combinationof gold lines and colored leather to createthe illusion of dimensionality and depth.In the Aramont Library, Bonet’s sunburstannounces Georges Rouault’s “Circus of theShooting Star,” an illustrated rumination onhuman frailty as seen through the daily livesof circus performers, a common theme formany post-impressionist artists.When taken as a whole, the AramontLibrary is both a measure of Westerncreativity over the last two centuries anda reflection of a collector’s pursuit of theperfect balance between book design,illustration and binding. We in Rare Book lookforward to sharing more with you about thisextraordinary collection in the months andyears to come. The Aramont Libraryreveals collaborationsbetween artists, authors andpublishers, such as these bypainter Pablo Picasso andpoet Pierre Riverdy (left) andbinder Rose Adler and write

Reading Hammer, founded the King Library Press at the University of Kentucky in Lexington, where Victor eventually settled after fleeing Vienna during World War II and where he died in 1967. The Victor and Carolyn Hammer Collection .

Related Documents:

3d artist magazine free. 3d artist magazine subscription. 3d artist magazine back issues. 3d artist magazine uk. 3d artist magazine tutorial. 3d artist magazine france. What happened to 3d artist magazine. 3d artist magazine website. Show season is upon us and the animation festivals, expos and conferences are underway. Now is a great time to .

Library of Congress Magazine . is issued . bimonthly by the Office of Communications of the Library of Congress and distributed free of charge to publicly supported libraries and research institutions, donors, academic libraries, learned societies and allied organizations in the United States. Research institutions and

(1) A large-capacity magazine that is a box type can have its capacity permanently reduced by using both of the following methods: (A) Inserting a rigid magazine capacity reduction device, also known as a magazine block, into the magazine body and then affixing the floor plate of the magazine to the body of the magazine with permanent epoxy.

2 - the library building is a public library recognized by the state library agency as a public library; 3 - the library building serves an area of greater than 10 percent poverty based on U.S.Census . Falmouth Area Library 5,242.00 Fennville District Library 16,108.00 Ferndale Public Library 16,108.00 Fife Lake Public Library 7,054.00 Flat .

3 07/2021 Dublin Public Library – SW f Dudley-Tucker Library – See Raymond Gilsum Public library [via Keene] Dummer Public Library [via White Mountains Community College, Berlin] NE t,r Dunbar Free Library – See Grantham Dunbarton Public Library – SW f Durham Public Library – SW w, f East Andover (William Adams Batchelder Library [via

Mar 03, 2021 · Kent District Library Loutit District Library Monroe County Library System West Bloomfield Township Public Library MINNESOTA Hennepin County Library Saint Paul Public Library . Jersey City Free Public Library Newark Public Library Paterson Free Public Library

5 Online Offerings 6. Curator's Picks 8 Page from the Past 22. My Job 23 Favorite Place 24. . Library of Congress Magazine. is issued bimonthly by the Office of . Communications of the Library . roses on an AIDS quilt panel in the Great Hall during a ceremony in November. Shawn Miller.

MEDIA KIT The Insulating Concrete Forms Magazine. Editorial Calendar & Advertising Deadlines January/February—Trade Show Issue . Materials Due: November 18, 2022 Magazine Shipped: January 9-12, 2023 March/April—Builder Award Winners Space Reservation: January 6, 2023 Materials Due: January 13, 2023 Magazine Shipped: March 13-16, 2023 May .