In the book trade, a tipped-in page or tipped-in plate is a page that is printed separately from the main text of the book, but attached to the book. The page may be glued onto a regular page or even bound along with the other pages. There are various reasons for tipped-in-pages, including photographic prints and reviews.
A tipped-in page or, if it is an illustration, tipped-in plate, is a page that is printed separately from the main text of the book, but attached to the book.A tipped-in page may be glued onto a regular page, or even bound along with the other pages. It is often printed on a different kind of paper, using a different printing process, and of a different format than a regular page. Tipped-in pages that are glued to a bound page on its inner side may be called paste ins.
Some authors include loose pages inserted into a book as tipped-in, but in this case, it is usually called an insert instead.
Semi-transparent papers called tissue guards were sometimes inserted facing the plate image, to protect the plate, and prevent its ink from transferring onto the opposite page.
Typical uses of tipped-in pages added by the publisher include:
Owners of books may also tip in such items as:
Coffee table art books featuring high quality tipped-in color plates were popular starting in the late 1940s and into the 1980s.Examples include several large series of books on painting published by Editions d'Art Albert Skira, Geneva: e.g. Painting, Color, History (23 volumes 1949–1972); The Great Centuries of Painting (14 volumes 1950–1959); The Taste of Our Time (57 volumes 1953–1972) with "hand-tipped colorplates".
Harry N. Abrams, Inc., New York also published many fine art books during this period with tipped-in plates, examples include the 56 volume series The Library of Great Painters published 1959–1985 with each book having ca. 48 "tipped-on colorplates"or "hand-tipped plates in full color".
Printmaking is the process of creating artworks by printing, normally on paper, but also on fabric, wood, metal, and other surfaces. "Traditional printmaking" normally covers only the process of creating prints using a hand processed technique, rather than a photographic reproduction of a visual artwork which would be printed using an electronic machine ; however, there is some cross-over between traditional and digital printmaking, including risograph.
Gustave Moreau was a French artist and an important figure in the Symbolist movement. Jean Cassou called him "the Symbolist painter par excellence". He was an influential forerunner of symbolism in the visual arts in the 1860s, and at the height of the symbolist movement in the 1890s, he was among the most significant painters. Art historian Robert Delevoy wrote that Moreau "brought symbolist polyvalence to its highest point in Jupiter and Semele." He was a prolific artist who produced over 15,000 paintings, watercolors, and drawings. Moreau painted allegories and traditional biblical and mythological subjects favored by the fine art academies. J. K. Huysmans wrote, "Gustave Moreau has given new freshness to dreary old subjects by a talent both subtle and ample: he has taken myths worn out by the repetitions of centuries and expressed them in a language that is persuasive and lofty, mysterious and new." The female characters from the Bible and mythology that he so frequently depicted came to be regarded by many as the archetypical symbolist woman. His art fell from favor and received little attention in the early 20th century but, beginning in the 1960s and 70s, he has come to be considered among the most paramount of symbolist painters.
Honoré-Victorin Daumier was a French painter, sculptor, and printmaker, whose many works offer commentary on the social and political life in France, from the Revolution of 1830 to the fall of the second Napoleonic Empire in 1870. He earned a living throughout most of his life producing caricatures and cartoons of political figures and satirizing the behavior of his countrymen in newspapers and periodicals, for which he became well known in his lifetime and is still known today. He was a republican democrat who attacked the bourgeoisie, the church, lawyers and the judiciary, politicians, and the monarchy. He was jailed for several months in 1832 after the publication of Gargantua, a particularly offensive and discourteous depiction of King Louis-Philippe. Daumier was also a serious painter, loosely associated with realism.
Loplop, or more formally, Loplop, Father Superior of the Birds, is the name of a birdlike character that was an alter ego of the Dada-Surrealist artist Max Ernst. Ernst had a ongoing fascination with birds, which often appear in his work. Loplop functioned as a familiar animal. William Rubin wrote of Ernst "Among his more successful works of the thirties are a series begun in 1930 around the theme of his alter ego, Loplop, Superior of the Birds." Loplop is an iconic image of surrealist art, the painting Loplop Introduces Loplop (1930) appears on the front cover of the Gaëtan Picon's book Surrealist and Surrealism 1919-1939, and the drawing and collage Loplop Presents (1932) was used as the frontispiece of Patrick Waldberg's book Surrealism.
Georges Henri Rouault was a French painter, draughtsman, and print artist, whose work is often associated with Fauvism and Expressionism.
Balthasar Klossowskide Rola, known as Balthus, was a Polish-French modern artist. He is known for his erotically charged images of pubescent girls, but also for the refined, dreamlike quality of his imagery.
Jusepe de Ribera was a Spanish painter and printmaker who, along with Francisco de Zurbarán, Bartolomé Esteban Murillo, and the singular Diego Velázquez, is regarded as one of the major artists of Spanish Baroque painting. Referring to a series of Ribera exhibitions held in the late 20th century, Philippe de Montebello wrote "If Ribera's status as the undisputed protagonist of Neapolitan painting had ever been in doubt, it was no longer. Indeed, to many it seemed that Ribera emerged from these exhibitions as not simply the greatest Neapolitan artist of his age but one of the outstanding European masters of the seventeenth century." Jusepe de Ribera has also been referred to as José de Ribera, Josep de Ribera, and Lo Spagnoletto by his contemporaries, early historians, and biographers.
Orphism or Orphic Cubism, a term coined by the French poet Guillaume Apollinaire in 1912, was an offshoot of Cubism that focused on pure abstraction and bright colors, influenced by Fauvism, the theoretical writings of Paul Signac, Charles Henry and the dye chemist Michel Eugène Chevreul. This movement, perceived as key in the transition from Cubism to Abstract art, was pioneered by František Kupka, Robert Delaunay and Sonia Delaunay, who relaunched the use of color during the monochromatic phase of Cubism. The meaning of the term Orphism was elusive when it first appeared and remains to some extent vague.
Philipp Otto Runge was a German artist, draftsman, painter, and color theorist. Runge and Caspar David Friedrich are often regarded as the leading painters of the German Romantic movement. He is frequently compared with William Blake by art historians, although Runge's short ten-year career is not easy to equate to Blake's career. By all accounts he had a brilliant mind and was well versed in the literature and philosophy of his time. He was a prolific letter writer and maintained correspondences and friendships with contemporaries such as Carl Ludwig Heinrich Berger, Caspar David Friedrich, Johann Wolfgang von Goethe, Friedrich Wilhelm Joseph Schelling, Henrik Steffens, and Ludwig Tieck. His paintings are often laden symbolism and allegories. For eight years he planned and refined his seminal project, Tageszeiten, four monumental paintings 50 square meters each, which in turn were only part of a larger collaborative Gesamtkunstwerk that was to include poetry, music, and architecture, but remained unrealized at the time of his death. With it he aspired to abandon the traditional iconography of Christianity in European art and find a new expression for spiritual values through symbolism in landscapes. One historian stated "In Runge's painting we are clearly dealing with the attempt to present contemporary philosophy in art." He wrote an influential volume on color theory in 1808, Sphere of Colors, that was published the same year he died.
A coffee table book, also known as a cocktail table book, is an oversized, usually hard-covered book whose purpose is for display on a table intended for use in an area in which one entertains guests and from which it can serve to inspire conversation or pass the time. Subject matter is predominantly non-fiction and pictorial. Pages consist mainly of photographs and illustrations, accompanied by captions and small blocks of text, as opposed to long prose. Since they are aimed at anyone who might pick up the book for a light read, the analysis inside is often more basic and with less jargon than other books on the subject. Because of this, the term "coffee table book" can be used pejoratively to indicate a superficial approach to the subject..
Minotaure was a Surrealist-oriented magazine founded by Albert Skira and E. Tériade in Paris and published between 1933 and 1939. Minotaure published on the plastic arts, poetry, and literature, avant garde, as well as articles on esoteric and unusual aspects of literary and art history. Also included were psychoanalytical studies and artistic aspects of anthropology and ethnography. It was a lavish and extravagant magazine by the standards of the 1930s, profusely illustrated with high quality reproductions of art, often in color.
Albert Skira (1904–1973) was a Swiss art dealer, publisher and the founder of the Skira publishing house.
Alberto Rizzo, was an Italian photographer and painter. He was born in La Spezia, outside of Rome. Rizzo studied painting, design, and graphic arts at the famed Accademia delle Belle Arti di Brera, Milan. Rizzo was also trained as a classical ballet dancer in Italy and France working with great choreographers such as Maurice Béjart. He came to America in 1960 at the invitation of Hermes Pan. He started off his American career in California, working with Fred Astaire among others.
Pat Steir is an American painter and printmaker. Her early work was loosely associated with conceptual art and minimalism, however, she is best known for her abstract dripped, splashed and poured "Waterfall" paintings, which she started in the 1980s, and for her later site-specific wall drawings.
Music in the Tuileries is an 1862 oil-on-canvas painting by Édouard Manet. It is owned by the National Gallery, London and the Hugh Lane Gallery, Dublin as part of the shared Lane Bequest.
Jean Leymarie was a French art historian.
Valmondois is a commune in the Val-d'Oise department in Île-de-France in northern France. Valmondois station has rail connections to Persan, Creil, Pontoise and Paris.
Big Painting No. 6 is a 1965 oil and Magna on canvas painting by Roy Lichtenstein. Measuring 235 cm × 330 cm, it is part of the Brushstrokes series of artworks that includes several paintings and sculptures whose subject is the actions made with a house-painter's brush. It set a record auction price for a painting by a living American artist when it sold for $75,000 in 1970. The painting is in the Kunstsammlung Nordrhein-Westfalen collection.
Skira Editore and Editions d'Art Albert Skira, also known as Skira, is a publishing firm founded by Albert Skira in Switzerland in 1928 and now based in Italy. The firm is known particularly for its art books of "vastly improved quality of colour reproduction".
Jacques Lassaigne was a French art historian, an art critic who served as president of the International Association of Art Critics from 1966 to 1969, and a museum curator acting as chief curator of the Musée d'Art Moderne de la Ville de Paris from 1971 to 1978. He was a prolific author who wrote numerous volumes of scholarly books on the subject art history, notably in collaboration with the publisher Albert Skira and his publishing house Editions D'Art Albert Skira in the 1950s and 1960s, many of which have been translated into English, Italian, German, and Spanish and published internationally. Jacques Lassaigne's books and museum exhibitions, with accompanying catalogues and essays, constitute a significant contribution to art history and have consistently been reference and cited by innumerable subsequent researchers and historians for decades.