I will be presenting my paper "Peasants and Slaves: Invisible Images in the Sixteenth and Nineteenth Centuries" at the Frühe Neuzeit Interdisziplinär Conference in Wolfenbüttel this week - Info here
Image: portrait of Haitian revolutionary hero Toussaint L’Ouverture
(National Route 1, Gagotte: Martha Cooper (photo), 1995)
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A peasant and Death in conversation from Katharina Speich's 1521 imprint of Ackermann. I will be presenting a paper examining Speich's role as the only woman (probably, that we know of) who printed The Twelve Articles, at the Association for Art History conference on 10 April. - https://forarthistory.org.uk/conference/2026-art-history-annual-conference/
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On the first of November I will be presenting my paper The conjunction of Saturn and Jupiter: Anti-utopia on the eve of the German Peasants’ War at the Sixteenth Century Conference in Portland. So, if you happen to be in that fair city please come along!
Women in Printing Before 1800 - Open call for papers
lisa cradduck of Mutton Fist Press and i are convening a conference panel, open call! deadline 2 nov, we are looking particulary for papers from female identifying and non-binary people, print-practitioners, and researchers working outside of academia! i am hoping to be the token stale male academic on this one.
https://forarthistory.org.uk/women-in-printing-before-1800/
Vol 115 of the Archive for Reformation History with my article on Lucas Cranach's drawing of women beating up priests is finally available digitally - https://www.degruyter.com/document/doi/10.14315/arg-2024-1150103/html
As my son (3yo) needs to learn the alphabet and is currently in the dinosaur phase I have spent the last year carving a set of linocut dinosaur letters. I just finished printing them all and here they are on sale at a Christmas market.
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If you happen to be in Toronto at the end of October, I will be presenting a paper From the Bundschuh to the eternal covenant: German peasant banners from the 1520s, at the SCSC - https://vmx.m-anage.com/home/us/scsc2024/en-US
My review of Heather Madar's rather good book on DĂĽrer and cultural difference is available here: https://www.cambridge.org/core/journals/austrian-history-yearbook/article/abs/heather-madar-albrecht-durer-and-the-depiction-of-cultural-differences-in-renaissance-europe-new-york-routledge-2023-pp-186/FFC0EE47A68933C76C2ED4C5AF19EE85
I am writing a book!
As the drafts for the introduction to chapter two are now with my readers for review I feel I can finally be more public with this. The title is The German Peasants' War, Visual Culture, and Political Subjectivation and it will be published by Routledge in the summer of 2025 (handily 500 years after the Peasants' War!)
my students have their degree shows on the 7th june - not just fine art but illustration, graphics, fashion, makeup and hair and prosthetics and sfx - i teach a lot of students!
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I will be presenting a paper on the talismanic qualities of early print as part of the panel "Embodied Experience in the Early Modern World" at the Association for Art History conference this coming April.
https://forarthistory.org.uk/embodied-experience-in-the-early-modern-world/
While in Baltimore for the SCSC this year I attended a panel related to the exhibition Making Her Mark – A History of Women Artists in Europe 1400-1800 at the Baltimore Museum of Art. As part of this, the methodological approaches the curators took towards the attempted identification of female artists amongst the various anonymous objects within museum collections was discussed.Â
This, apart from being interesting in its own right, sparked something relating to an ongoing conversation I had been having with several other conference attendees about who were all these anonymous formschneider (cutters of the wood blocks for relief print illustrations) who made the images that we were considering. I asked the exhibitions curator, Theresa Kutasz Christensen, about this and she said absolutely, women were involved in the early print industry and there was an essay in the catalogue on this subject.
Yolanda Bonhomme, Extravagantes viginti Joannis Vigesimissecundi…, Paris, 1549.
I fortunately had time to see the exhibition – which was excellent – and get a copy of the catalogue. The essay, by Madeleine C. Viljoen, focused mainly on later intaglio printing in Italy but did highlight the work of the nuns at the convent of San Jacapo di Ripoli in Florence in the late fifteenth century – who I was aware of from their brief employment of Niccolò di Lorenzo in 1480 – and the amazing work of Yolande Bonhomme in Paris in the sixteenth. Bonhomme, from a printing family, ran the press at the sign of the Unicorn and was the first documented woman to print publish an edition of the Bible (in Latin) in 1526. This, while all interesting background stuff, did not really help with the discussion on woodblock printing in the German speaking lands that are my particular focus.
Another essay in the catalogue, on the printing of textile patterns, by Alexa Greist did however have some useful information on the activities of the Augsburg printer Johann Schönsperger the younger who took over his father’s press in ca.1521. Most of the output from this press I am aware of relates, naturally, to radical political and religious pamphlets and merges with the work of Jörg Gastel who appears to have taken many of Schönsperger’s blocks to Zwickau in 1523-4. Following this, between 1525 and 1529 Schönsperger published A New Book of Forms – one of the first commercial pattern books for lace and embroidery.Â
This work, intended for the emerging “feminine” trades of textile production (see Sebald Beham’s The Spinning Bee, ca.1524), does not necessarily prove the involvement of female labour the workshops of Schönsperger and Gastel at this time. But, taken with the wider discussion on the topic from Viljoen and Kutasz Christensen, can be at the very least be used to demonstrate its possibility. This connection between the radical printers of pamphlets of the “common man” and the female worker gives an important reminder that the assumptions around gender so commonly made about the early history of printing are precisely that – assumptions.
***
Primary sources:
Sebald Beham, Spinning Bee, ca. 1524, Ashmolean Museum of Art and Archaeology, Oxford.
Yolanda Bonhomme, Extravagantes viginti Joannis Vigesimissecundi…, Paris, 1549. Collection of Lisa Unger Baskin. (Author’s photograph.)
Johann Shönsperger the Younger, Ein ney Furmbüchlein, Augsburg, ca.1525-9. The Metropolitan Museum New York, 18.66.1(1-33). (Available at: https://www.metmuseum.org/art/collection/search/354716)
Secondary sources:
Böninger, L., 2021, Niccolò di Lorenzo della Magna and the Social World of Florentine Printing, ca. 1470-1493, Cambridge: Harvard University Press.
Greist, A., 2023, “Prints and Needles: Women Makers and European Textile Pattern Books”, in A.B. Banta, A. Greist and T. Kutasz Christensen (eds.), Making Her Mark – A History of Women Artists in Europe 1400-1800, Fredericton: Goose Lane. 30-41.
Kutasz Christensen, T., 2023, “Too Good to be by a Woman: Locating Pre-Modern Women Makers in Museum Collections” SCSC, Baltimore, MD.
Stewart, A., 2003, “Distaffs and Spindles: Sexual Misbehavior in Sebald Beham’s Spinning Bee”, Faculty Publications and Creative Activity, School of Art, Art History and Design, University of Nebraska – Lincoln. 4. (Available at: https://digitalcommons.unl.edu/artfacpub/4)
Viljoen, M.C., 2023, “Multiple Challenges or the Challenge of Multiples: Early Modern Women as the Creators of Prints”, in A.B. Banta, A. Greist and T. Kutasz Christensen (eds.), Making Her Mark – A History of Women Artists in Europe 1400-1800, Fredericton: Goose Lane. 58-75.
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