"In Early Modern Thesis Prints in the Southern Netherlands, Gwendoline de Mûelenaere offers an account of the practice of producing illustrated thesis prints in the seventeenth-century Southern Low Countries. She argues that the evolution of the thesis print genre gave rise to the creation of a specific visual language combining efficiently various figurative registers of a historical and symbolic nature. The book offers a reflection on the representation of knowledge and its public recognition in the context of academic defenses. Early Modern Thesis Prints makes a timely contribution to our understanding of early modern print culture and more specifically to the expanding field of study concerned with the role of visual materials in early modern thought"--

This text presents both an overview of the print production in 17th-century southern Low Countries and a focused approach to the work of three collaborators of Rubens - Abraham Van Diepenbeeck, Erasmus Quellinus II, and Cornelis Schut.

Published on the occasion of an exhibition featuring ninety draw- ings from artists from the southern and northern Netherlands created during the 16th and beginning of the 17th century. In addition to beautiful sketches for prints, paintings, stained glass and tapestries by great masters such as Frans Floris and Peter Paul Rubens, other sheets like the sublime figure studies of Hendrick Golt- zius and Cornelis De Vos or the so accurately detailed landscapes of Pieter Stevens and Adriaen Frans Boudewijns are put in the spotlights. The majority of the selected drawings have never been shown to the public before. 0Exhibition: Koninklijke Musea voor Schone Kunsten van België, Brussels, Belgium (20.01-15.05.2016).

Wenceslaus Hollar (1607 Prague - 1677 London) was one of the most important artists of the 17th century. His international career, affluent patrons, and insatiable curiosity enabled him to create a diverse range of prints and drawings, remarkable for their varied subject matter and exceptional technical qualities. Hollar's oeuvre includes cities and fortifications, portraits, religious subjects, politics, mythology, architecture, heraldry and numismatics, antiquarian relics, costume, maps, sports, classical literature, landscape views, 'Old Master' drawings and paintings, and natural history. His work invokes his close observation of, and engagement with, the natural world, as much as the society of his times. Unfortunately, Hollar has received less attention than many of his contemporaries. He has all too often been undervalued as being primarily a 'reproductive printmaker' - one who reproduces in print the designs of others, or simply copies paintings into print. This volume seeks to revise how Hollar has formerly been characterized, through an exploration of hitherto unexamined drawings, as well as the more innovative qualities of his printmaking. It includes new research on Hollar's biography and his patrons, fresh perspectives on Hollar's portraits and urban scenes, and insights into Hollar's forays into the natural world. Partly the outcome of a 2010 symposium held at the Thomas Fisher Rare Books Library at the University of Toronto (repository of third largest collection of Hollar prints), this book comprises contributions from nine international print scholars, from Australia, Canada, Czech Republic, Germany, England, and The Netherlands. Their work on Hollar reaffirms his importance not only to the history of printmaking, but also to the art, science and culture of his times.