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Albrecht Durer Woodcuts

    http://www.albrechtdurer.org/woodcuts/
    Besides painting and engraving, the Nuremberg-born Albrecht is well identified with woodcuts. His style for woodcut is very distinctive and can't be bettered by anyone. His genius of art and creativity of producing woodcuts reached the highest height during his era. Albrecht's woodcuts are celebrated beyond Germany.

woodcut Technique, History, & Facts Britannica

    https://www.britannica.com/art/woodcut
    In the United States, woodcuts gained importance in the 1920s and ’30s through the illustrations of Rockwell Kent and artists working in the Works Progress Administration (WPA). After World War II the artists Misch Kohn, Leonard Baskin , and Carol Summers further developed the woodcut medium in the United States.

Albrecht Dürer woodcuts revolutionized the art

    http://www.durerart.com/Woodcuts/
    Dürer raised the art of woodcut to a position never seen before. His masterpieces even imposed the “fashion” of multiplying art works, and great artists like Lucas Cranach or Holbein …

Woodcut - Art History Appreciation - Arthistory.net

    http://www.arthistory.net/woodcut/
    Other famous artists who worked with woodcuts include Hokusai (1760-1849), M.C. Escher (1898-1972), Hishikawa Moronobu (1618-1694), Werner Drewes (1899-1985), Urs Grad (1485-c.1529), and Utamaro (c.1753-1806).

Woodcut in Art: Definition, Artists & History - Humanities ...

    https://study.com/academy/lesson/woodcut-in-art-definition-artists-history.html
    It created a dramatic effect of shadow and highlights. Hans Baldung, Group of Seven Horses, ca. 1534. Katsushika Hokusai. Among the famous Japanese artists who used woodcuts was Katsushika Hokusai...

The Printed Image in the West: Woodcut Essay The ...

    https://www.metmuseum.org/toah/hd/wdct/hd_wdct.htm
    It was the brilliant German artist Albrecht Dürer who transformed the medium with woodcuts like Samson Rending the Lion, such fully realized works in black and white, complete with subtle gradations of tone and suggestions of texture, that Durer’s contemporary, Erasmus of Rotterdam, claimed that to add color would be to “injure the work.”

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