The following is a list of the articles reproduced in the course reader.
From William M. Ivins Jr., How Prints Look
(Boston: Beacon Press, 1987): 5-15 & 20-21.
Patricia Emison, "Prolegomena to the Study of Italian Renaissance Prints," Word & Image 11, n. 1 (Jan.-Mar., 1995): 1-15.
"Introduction" by H. Diane Russell in Eva/Ave: Woman in Renaissance and Baroque Prints, edited by H. Diane Russell (Washington: National Gallery of Art, 1990): 13-25.
Charles W. Talbot, "Baldung and the Female Nude," in Hans Baldung Grien: Prints and Drawings. Edited by James H. Marrow & Alan Shestack (Washington, DC: National Gallery of Art, 1981): 19-37.
"The Witch's Sabbath," catalogue entry in Hans Baldung Grien: Prints and Drawings. Edited by James H. Marrow &Alan Shestack (Washington, DC: National Gallery of Art, 1981): 114-119.
Selection from Heinrich Kramer & James Sprenger, The Malleus Maleficarum, ["Witch Hammer"] Translated by Rev. Montague Summers (New York: Dover Books, 1971; originally published in 1486).
"Death of Lucretia," catalogue entry in Hans Baldung Grien: Prints and Drawings. Edited by James H. Marrow & Alan Shestack (Washington, DC: National Gallery of Art, 1981): 156-7.
"Aristotle & Phyllis," catalogue entry in Hans Baldung Grien: Prints and Drawings. Edited by James H. Marrow & Alan Shestack (Washington, DC: National Gallery of Art, 1981): 170-171.
From I Modi: The Sixteen Pleasures. An Erotic Album of the Renaissance. Edited and translated by Lynne Lawner (Evanston: Northwestern University Press, 1988): 3-19, 60-61, 66-67.
Janey L. Levy, "The Erotic Engravings of Sebald and Barthel Beham," in The World in Miniature: Engravings by the German Little Masters 1500-1550, edited by Stephen H. Goddard (Spencer Museum of Art, The University of Kansas, 1988): 40-53.
"Heroines and Worthy Women" by Bernadine Barnes in Eva/Ave: Woman in Renaissance and Baroque Prints, edited by H. Diane Russell (Washington: National Gallery of Art, 1990): 29-39 & 42-45.
A. Kent Hieatt, "Eve as Reason in a Tradition of Allegorical Interpretation of the Fall," Journal of the Warburg and Courtauld Institutes 43 (1980): 221-226.
"Eve" by H. Diane Russell in Eva/Ave: Woman in Renaissance and Baroque Prints, edited by H. Diane Russell (Washington: National Gallery of Art, 1990): 113-126.
Keith Moxey, "Master E. S. and the Folly of Love" Simiolus 11, n. 3 (1980): 125-148.
R. W. Scribner, "Images of Luther 1519-25," chapter in For the Sake of Simple Folk. Popular Propaganda for the German Reformation (Oxford: Clarendon Press, 1994): 14-36.
Christiane Andersson, "Polemical Prints in Reformation Nuremberg," in New Perspectives on the Art of Renaissance Nuremberg: Five Essays, edited by Jefferey Chipps Smith (University of Texas, Austin, 1985): 41-62.
Keith Moxey, "Sebald Beham's Church Anniversary Holidays: Festive Peasants as Instruments of Repressive Humour," Simiolus 12, n. 2/3 (1981-82): 107-130.
Margaret Carroll, "Peasant Festivity and Political Identity in the 16th Century," Art History 10, n. 3 (Sept. 1987): 289-303.
Selections on "Stranded Whales" from Linda A. Stone-Ferrier, Dutch Prints of Daily Life: Mirrors of Life or Masks of Morals? (Lawrence, Kansas, Spencer Museum of Art, 1983): 189-194.
Ilja M. Veldman, "Lessons for Ladies: A Selection of 16th and 17th Century Dutch Prints," Simiolus 16, n. 2/3 (1986): 113-127.
Lynn Hunt, "Pornography and the French Revolution," chapter in The Invention of Pornography: Obscenity and the Origins of Modernity 1500-1800, edited by Lynn Hunt (New York: Zone Books, 1993): 301-339.
From Mark Hallett, The Spectacle of Difference: Graphic Satire in the Age of Hogarth (New Haven & London: Yale University Press, 1999): 197-233.
Patricia Anderson, "The New Printed Image: The Penny Magazine and The Mass Circulation of Illustration", chapter in The Printed Image and the Transformation of Popular Culture 1790-1860 (Oxford: Clarendon Press, 1991): 50-71.
Margaret Beetham, A Magazine of Her Own? Domesticity and Desire in the Woman's Magazine, 1800-1914 ( London & New York: Routledge, 1996): 71-88.
Patricia Anderson, "Muscles and Manhood," chapter in When Passions Reigned: Sex and the Victorians (New York: Basic Books, 1995): 49-70.
Michael Camille, "Reading the Printed Image: Illuminations and Woodcuts of the Pèlerinage de la vie humaine in the Fifteenth-century," in Printing the Written Word: The Social History of Books circa 1450-1520, edited by Sandra Hindman (Ithaca & London: Cornell University Press, 1991):259-291.
Warren Chappell, A Short History of the Printed Word (Boston: Nonpareil Books, 1970): 58-83.
Elizabeth Eisenstein, The Printing Revolution in Early Modern Europe (Cambridge: Cambridge University Press, 1983): 41-72.
Leonardas V. Gerulaitis, Printing and Publishing in Fifteenth- Century Venice (Chicago: American Library Association, 1976): 1-13.
David Kunzle, "World Turned Upside Down: The Iconography of a European Broadsheet Type," in The Reversible World; Symbolic Inversion in Art and Society, edited by Barbara Babcock (Ithaca & London: Cornell University Press, 1978): 39-94.
Michel Melot et. al. Prints: History of an Art (New York: Skira/Rizzoli, 1981): 41-49.
Michel Melot et. al. Prints: History of an Art (New York: Skira/Rizzoli, 1981): 81-85.
Michel Melot et. al. Prints: History of an Art (New York: Skira/Rizzoli, 1981): 101-106.
Jane O. Newman, "The Word Made Print: Luther's 1522 New Testament in an Age of Mechanical Reproduction" Representations 11 (Summer, 1985): 95-133.
Erwin Panofsky, "Virgo & Victrix: A Note on Dürer's Nemesis," in Prints (New York: Holt, Rinehart and Winston, 1962): 15-29 [does not include endnotes]
"Venus" by H. Diane Russell in Eva/Ave: Woman in Renaissance and Baroque Prints, edited by H. Diane Russell (Washington: National Gallery of Art, 1990): 131-150.
Victor Scholderer, Printers and Readers in Italy in the Fifteenth- Century (Oxford: Oxford University Press, 1949).
Mark J. Zucker, "An Allegory of Renaissance Politics in a Contemporary Italian Engraving: The Prognostic of 1510," Journal of the Warburg and Courtauld Institutes 52 (1989): 236-240.
