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HIDDEN TREASURES, THE HISTORY AND TECHNIQUE OF FORE-EDGE PAINTING
Bennett, Jeanne
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Fore-edge paintings are individually painted, one-of-a-kind works of art. Because they are highly valued by collectors, many are held captive in private libraries. Even more are hidden away from the general public in university and public libraries. They are carefully protected because a fore-edge painted book would be destroyed by too many hands fanning the pages wanting to see the hidden painting magically appear.
The first part of Hidden Treasures focuses on the history of fore-edge painting through the present as well as giving us a detailed interview with the world reknowned fore-edge painter Martin Frost.
The second part provides two (beginner & intermediate) sections on step-by-step instructions on how to create your own fore-edge painting. By fanning open, then clamping the fore-edge of a book (the pages opposite the spine), a surface is formed composed of the tiny exposed edges of each page. A miniature watercolor painting is then applied to these edges. When the book is closed, the painting disappears. Edge decoration, such as gold gilt or marbling, hides the painting so the fore-edge painting is seen only when the pages are fanned.
Now, you can make your own fore-edge paintings! Jeanne Bennetts new book, Hidden Treasures: The History and Technique of Fore-edge Painting, to be released in February 2012 by Calliope Press, is the first book ever to give authoritative and definitive step-by-step instructions for painting the fore-edges of books.
LEARN THE BASICS
Even if you have never painted before, the fully illustrated instructions in this book will guide you through every step needed to create your own fore-edge paintings:
How to select the right materials and books
How to prepare the fore-edge for painting
How to fan and clamp the book in the press
How to choose and transfer your design
How to control the watercolor layers
How to complete a fore-edge painting
How to use advanced tools and materials
HIDE THE PAINTING - BIND YOUR BOOK
When your fore-edge painting is finished, learn through step-by-step instructions how to hide the painting and make softbound books into elegant hardbound books.
The final part of the book shows beautiful color examples of work done by professional fore-edge painters and students alike. Signed by the author on the title page.
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More On This Subject - -
> BOOK ILLUSTRATION, TWENTIETH CENTURY
> BOOK ILLUSTRATION, NINETEENTH CENTURY
> FORE-EDGE PAINTING
> MANUAL
Books of related interests - -
> CATALOGUE OF AN EXHIBITION OF THE ART OF LITHOGRAPHY.
> Hobbs, Susan, LITHOGRAPHS OF JAMES McNEILL WHISTLER, FROM THE COLLECTION OF STEVEN LOUIS BLOCK.
> Pedersen, B. Martin (editor)., GRAPHIS BOOK DESIGN
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THE BOOK OF HOURS OF BONAPARTE GHISLIERI.
by Medica, Massimo
One of 980 copies. This extremely refined masterwork of the Italian Renaissance (1503) was commissioned by Bonaparte Ghislieri, who belonged to a leading family of Bologna. Also Bolognese was the calligrapher, Pietro Antonio Sallando (a grammarian at the citys university and a renowned calligraphy master).
A treasury of masterpieces: Ghislieris intention was to produce a small anthology of the finest illuminations in central and northern Italy. To this end he called upon a number of the leading artists of this period, each of whom was to produce a full-page illumination. Thus, we find works by Amico Aspertini (Adoration of the Shepherds), Perugino (San Sebastiano), Lorenzo Costa (David with lyre), Francesco Francia (San Gerolamo), and, in all likelihood, Matteo da Milano (Annunciation).
Marvellous embellishments: Notable, too, are the embellishments framing the illustrations, produced with an abundance of floral motifs and references to the classic tradition. Indeed, a number of pages include fragile, fantastic, grotesque figures inspired by the decor of the Grotte (caves) of the Esquiline Hill in Rome (the site of the buried remains of Neros Domus Aurea, or Golden House, which, when uncovered in 1480, immediately attracted the attention of the artists of that period).
The elaborate binding: The morocco binding, with its finely executed floral motifs on polychrome silk satin, is quite remarkable. The covers are adorned with two bezels or settings for semi-precious stones and two centrally positioned roundels for the figures of the Annunciation.
Patronage: The works original owner (as indicated by the coat of arms) was Bonaparte Ghislieri, who was elected a senator in Bologna following the assassination of his father, Virgilio, in 1523. When the codex was produced, Bonaparte Ghislieri was still rather young and it may be that this Libro dOre had been commissioned by Bonapartes father for his sons use. The codex passed from the house of Ghislieri into the hands of the Albani family of Urbino, where, according to record, it was to be found in the eighteenth century. In the nineteenth century, the work reached Britain, where it was purchased by Henry Yates Thompson in 1897. It has been at the British Library since 1941.
The Commentary: The work is accompanied by a book with commentary, edited by Massimo Medica, with writings by Giancarlo Benevolo, Peter Kidd and Massimo Medica.
Facsimile is present with the accompanying commentary and a clamshell case.
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