Style Scandinavian Folk Art Block Print Antique Japanese Paper Cuts

Relief printing technique

Woodcut is a relief printing technique in printmaking. An artist carves an epitome into the surface of a block of woods—typically with gouges—leaving the press parts level with the surface while removing the non-printing parts. Areas that the creative person cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain (unlike wood engraving, where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas.

Multiple colors can exist printed by keying the paper to a frame around the woodblocks (using a different block for each colour). The art of etching the woodcut can exist called "xylography", but this is rarely used in English for images solitary, although that and "xylographic" are used in connection with block books, which are small books containing text and images in the same block. They became pop in Europe during the latter half of the 15th century. A single-sheet woodcut is a woodcut presented every bit a unmarried image or print, as opposed to a book illustration.

Since its origins in People's republic of china, the exercise of woodcut has spread around the world from Europe to other parts of Asia, and to Latin America.^[1]

Division of labour [edit]

In both Europe and East asia, traditionally the artist only designed the woodcut, and the cake-carving was left to specialist craftsmen, chosen formschneider or cake-cutters, some of whom became well known in their ain correct. Amongst these, the best-known are the 16th-century Hieronymus Andreae (who also used "Formschneider" as his surname), Hans Lützelburger and Jost de Negker, all of whom ran workshops and also operated as printers and publishers. The formschneider in turn handed the cake on to specialist printers. There were further specialists who made the bare blocks.

This is why woodcuts are sometimes described by museums or books as "designed past" rather than "by" an artist; but well-nigh government do not employ this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, without needing to learn the use of woodworking tools.

There were diverse methods of transferring the artist's fatigued design onto the block for the cutter to follow. Either the drawing would be made straight onto the block (often whitened first), or a drawing on newspaper was glued to the block. Either manner, the creative person's drawing was destroyed during the cutting process. Other methods were used, including tracing.

In both Europe and East Asia in the early 20th century, some artists began to do the whole procedure themselves. In Nihon, this motility was called sōsaku-hanga ( 創作版画 , artistic prints ), equally opposed to shin-hanga ( 新版画 , new prints ), a motility that retained traditional methods. In the West, many artists used the easier technique of linocut instead.

Methods of printing [edit]

The Crab that played with the bounding main, Woodcut past Rudyard Kipling illustrating ane of his Simply So Stories (1902). In mixed white-line (beneath) and normal woodcut (higher up).

Compared to intaglio techniques like etching and engraving, only low pressure level is required to impress. Equally a relief method, information technology is merely necessary to ink the block and bring it into firm and fifty-fifty contact with the newspaper or cloth to achieve an adequate print. In Europe, a diverseness of forest including boxwood and several nut and fruit woods like pear or crimson were unremarkably used;^[2] in Nippon, the wood of the cherry species Prunus serrulata was preferred.^{[ citation needed ]}

There are iii methods of printing to consider:

Stamping: Used for many fabrics and most early European woodcuts (1400–twoscore). These were printed past putting the paper/fabric on a tabular array or other apartment surface with the block on top, and pressing or hammering the back of the block.
Rubbing: Plain the most common method for Far Eastern printing on paper at all times. Used for European woodcuts and cake-books later in the fifteenth century, and very widely for material. Also used for many Western woodcuts from about 1910 to the present. The block goes confront on a tabular array, with the paper or fabric on superlative. The back is rubbed with a "hard pad, a flat slice of wood, a burnisher, or a leather frotton".^[iii] A traditional Japanese tool used for this is called a baren. Later in Nihon, complex wooden mechanisms were used to assist hold the woodblock perfectly however and to apply proper pressure in the printing process. This was peculiarly helpful once multiple colors were introduced and had to be practical with precision atop previous ink layers.
Printing in a printing: presses just seem to have been used in Asia in relatively contempo times. Printing-presses were used from about 1480 for European prints and block-books, and before that for woodcut book illustrations. Simple weighted presses may take been used in Europe before the impress-press, simply business firm evidence is lacking. A deceased Abbess of Mechelen in 1465 had "unum instrumentum ad imprintendum scripturas et ymagines ... cum 14 aliis lapideis printis"—"an instrument for press texts and pictures ... with fourteen stones for printing". This is probably likewise early to be a Gutenberg-type press press in that location.^[3]

History [edit]

Main articles Quondam master print for Europe, Woodblock press in Nihon for Nihon, and Lubok for Russian federation

Madonna del Fuoco (Madonna of the Fire, c. 1425), Cathedral of Forlì, in Italy

A less sophisticated woodcut volume analogy of the Hortus Sanitatis lapidary, Venice, Bernardino Benaglio e Giovanni de Cereto (1511)

Woodcut originated in Red china in antiquity as a method of printing on textiles and afterwards on paper. The earliest woodblock printed fragments to survive are from Red china, from the Han dynasty (earlier 220), and are of silk printed with flowers in three colours.^[4] "In the 13th century the Chinese technique of blockprinting was transmitted to Europe."^[v] Paper arrived in Europe, as well from China via al-Andalus, slightly subsequently, and was being manufactured in Italy by the stop of the thirteenth century, and in Burgundy and Frg by the cease of the fourteenth.

In Europe, woodcut is the oldest technique used for old master prints, developing about 1400, by using, on newspaper, existing techniques for printing. One of the more ancient woodcuts on paper that can be seen today is The Burn Madonna (Madonna del Fuoco, in the Italian language), in the Cathedral of Forlì, in Italy.

The explosion of sales of inexpensive woodcuts in the heart of the century led to a fall in standards, and many popular prints were very crude. The development of hatching followed on rather later than engraving. Michael Wolgemut was pregnant in making German woodcuts more sophisticated from nigh 1475, and Erhard Reuwich was the first to use cross-hatching (far harder to practice than engraving or carving). Both of these produced mainly volume-illustrations, equally did various Italian artists who were also raising standards there at the same period. At the stop of the century Albrecht Dürer brought the Western woodcut to a level that, arguably, has never been surpassed, and greatly increased the status of the "single-foliage" woodcut (i.east. an image sold separately).

Because woodcuts and movable blazon are both relief-printed, they can hands be printed together. Consequently, woodcut was the main medium for book illustrations until the late sixteenth century. The first woodcut book analogy dates to almost 1461, simply a few years subsequently the beginning of printing with movable type, printed past Albrecht Pfister in Bamberg. Woodcut was used less often for individual ("single-leaf") fine-fine art prints from about 1550 until the late nineteenth century, when interest revived. Information technology remained important for popular prints until the nineteenth century in about of Europe, and afterwards in some places.

The art reached a high level of technical and creative development in East asia and Iran. Woodblock printing in Nihon is called moku-hanga and was introduced in the seventeenth century for both books and art. The popular "floating world" genre of ukiyo-e originated in the second half of the seventeenth century, with prints in monochrome or two colours. Sometimes these were hand-coloured after press. Later, prints with many colours were developed. Japanese woodcut became a major artistic form, although at the fourth dimension information technology was accorded a much lower condition than painting. It continued to develop through to the twentieth century.

White-line woodcut [edit]

Using a handheld gouge to cut a "white-line" woodcut blueprint into Japanese plywood. The design has been sketched in chalk on a painted face up of the plywood.

This technique just carves the epitome in by and large sparse lines, similar to a rather crude engraving. The block is printed in the normal fashion, so that near of the print is black with the image created by white lines. This process was invented past the sixteenth-century Swiss artist Urs Graf, but became most popular in the nineteenth and twentieth century, oftentimes in a modified course where images used big areas of white-line assorted with areas in the normal blackness-line manner. This was pioneered by Félix Vallotton.

Japonism [edit]

In the 1860s, simply as the Japanese themselves were becoming aware of Western fine art in general, Japanese prints began to reach Europe in considerable numbers and became very fashionable, especially in French republic. They had a keen influence on many artists, notably Édouard Manet, Pierre Bonnard, Henri de Toulouse-Lautrec, Edgar Degas, Paul Gauguin, Vincent van Gogh, Félix Vallotton and Mary Cassatt. In 1872, Jules Claretie dubbed the trend "Le Japonisme".^[vi]

Though the Japanese influence was reflected in many artistic media, including painting, it did pb to a revival of the woodcut in Europe, which had been in danger of extinction as a serious fine art medium. Most of the artists above, except for Félix Vallotton and Paul Gauguin, in fact used lithography, especially for coloured prints. See below for Japanese influence in illustrations for children's books.

Artists, notably Edvard Munch and Franz Masereel, connected to use the medium, which in Modernism came to appeal considering information technology was relatively easy to complete the whole procedure, including printing, in a studio with little special equipment. The German Expressionists used woodcut a proficient bargain.

Colour [edit]

Coloured woodcuts first appeared in ancient China. The oldest known are three Buddhist images dating to the tenth century. European woodcut prints with coloured blocks were invented in Germany in 1508, and are known as chiaroscuro woodcuts (see below). Notwithstanding, colour did not go the norm, equally it did in Nippon in the ukiyo-e and other forms.

In Europe and Japan, colour woodcuts were normally merely used for prints rather than volume illustrations. In People's republic of china, where the individual print did not develop until the nineteenth century, the reverse is true, and early colour woodcuts more often than not occur in luxury books almost art, especially the more than prestigious medium of painting. The kickoff known case is a book on ink-cakes printed in 1606, and colour technique reached its height in books on painting published in the seventeenth century. Notable examples are Hu Zhengyan's Treatise on the Paintings and Writings of the Ten Bamboo Studio of 1633,^[7] and the Mustard Seed Garden Painting Manual published in 1679 and 1701.^[8]

In Japan colour technique, chosen nishiki-e in its fully developed form, spread more widely, and was used for prints, from the 1760s on. Text was most always monochrome, as were images in books, merely the growth of the popularity of ukiyo-e brought with it demand for ever-increasing numbers of colors and complication of techniques. By the nineteenth century well-nigh artists worked in colour. The stages of this evolution were:

Sumizuri-eastward (墨摺り絵, "ink printed pictures") – monochrome printing using but black ink
Benizuri-e (紅摺り絵, "crimson printed pictures") – cerise ink details or highlights added by hand afterward the press process；green was sometimes used as well
Tan-eastward (丹絵) – orange highlights using a red pigment called tan
Aizuri-eastward (藍摺り絵, "indigo printed pictures"), Murasaki-e (紫絵, "royal pictures"), and other styles that used a single color in add-on to, or instead of, black ink
Urushi-e (漆絵) – a method that used glue to thicken the ink, emboldening the paradigm; gold, mica and other substances were frequently used to enhance the prototype further. Urushi-due east tin also refer to paintings using lacquer instead of paint; lacquer was very rarely if ever used on prints.
Nishiki-eastward (錦絵, "brocade pictures") – a method that used multiple blocks for dissever portions of the paradigm, and so a number of colors could attain incredibly complex and detailed images; a split up block was carved to apply only to the portion of the image designated for a single colour. Registration marks called kentō (見当) ensured correspondence between the application of each block.

A number of different methods of color printing using woodcut (technically Chromoxylography) were developed in Europe in the 19th century. In 1835, George Baxter patented a method using an intaglio line plate (or occasionally a lithograph), printed in black or a nighttime colour, and then overprinted with up to 20 different colours from woodblocks. Edmund Evans used relief and wood throughout, with upward to eleven different colours, and latterly specialized in illustrations for children'due south books, using fewer blocks just overprinting not-solid areas of colour to achieve blended colours. Artists such as Randolph Caldecott, Walter Crane and Kate Greenaway were influenced by the Japanese prints now available and fashionable in Europe to create a suitable style, with flat areas of colour.

In the 20th century, Ernst Ludwig Kirchner of the Die Brücke group developed a procedure of producing colored woodcut prints using a unmarried block applying unlike colors to the block with a brush à la poupée and then printing (halfway between a woodcut and a monotype).^[9] A remarkable example of this technique is the 1915 Portrait of Otto Müller woodcut print from the collection of the British Museum.^[10]

Gallery of Asian woodcuts [edit]

Chiaroscuro woodcuts [edit]

Chiaroscuro woodcut depicting Playing cupids past anonymous 16th-century Italian artist

Chiaroscuro woodcuts are former master prints in woodcut using two or more than blocks printed in different colours; they do not necessarily feature strong contrasts of light and dark. They were outset produced to accomplish like effects to chiaroscuro drawings. After some early experiments in book-printing, the truthful chiaroscuro woodcut conceived for 2 blocks was probably start invented by Lucas Cranach the Elder in Germany in 1508 or 1509, though he backdated some of his start prints and added tone blocks to some prints first produced for monochrome printing, swiftly followed by Hans Burgkmair.^[11] Despite Giorgio Vasari's merits for Italian precedence in Ugo da Carpi, information technology is clear that his, the commencement Italian examples, date to around 1516.^[12] ^[xiii]

Other printmakers to employ the technique include Hans Baldung and Parmigianino. In the German language states the technique was in employ largely during the first decades of the sixteenth century, but Italians connected to utilize it throughout the century, and later artists like Hendrik Goltzius sometimes fabricated utilise of it. In the German style, one block unremarkably had but lines and is called the "line block", whilst the other block or blocks had flat areas of colour and are called "tone blocks". The Italians ordinarily used only tone blocks, for a very different effect, much closer to the chiaroscuro drawings the term was originally used for, or to watercolor paintings.^[14]

The Swedish printmaker Torsten Billman (1909–1989) developed during the 1930s and 1940s a variant chiaroscuro technique with several gray tones from ordinary printing ink. The fine art historian Gunnar Jungmarker (1902–1983) at Stockholm's Nationalmuseum called this technique "grisaille woodcut". It is a time-consuming press process, exclusively for paw printing, with several grey-forest blocks aside from the black-and-white key block.^[15]

Modernistic woodcut printing in Mexico [edit]

José Guadalupe Posada, Calavera Oaxaqueña, 1910

Woodcut printmaking became a popular course of fine art in Mexico during the early on to mid 20th century.^[1] The medium in Mexico was used to convey political unrest and was a class of political activism, especially after the Mexican Revolution (1910–1920). In Europe, Russia, and Prc, woodcut art was being used during this time every bit well to spread leftist politics such every bit socialism, communism, and anti-fascism.^[16] In Mexico, the art fashion was made pop past José Guadalupe Posada, who was known every bit the father of graphic fine art and printmaking in Mexico and is considered the commencement Mexican modern artist.^[17] ^[18] He was a satirical cartoonist and an engraver before and during the Mexican Revolution and he popularized Mexican folk and ethnic art. He created the woodcut engravings of the iconic skeleton (calaveras) figures that are prominent in Mexican arts and culture today (such equally in Disney Pixar's Coco).^[19] Encounter La Calavera Catrina for more on Posada's calaveras.

In 1921, Jean Charlot, a French printmaker moved to United mexican states City. Recognizing the importance of Posada's woodcut engravings, he started education woodcut techniques in Coyoacán's open-air art schools. Many immature Mexican artists attended these lessons including the Fernando Leal.^[17] ^[18] ^[twenty]

Later the Mexican Revolution, the country was in political and social upheaval - at that place were worker strikes, protests, and marches. These events needed cheap, mass-produced visual prints to be pasted on walls or handed out during protests.^[17] Data needed to be spread quickly and cheaply to the general public.^[17] Many people were still illiterate during this time and there was push button afterward the Revolution for widespread didactics. In 1910 when the Revolution began, only 20% of Mexican people could read.^[21] Fine art was considered to be highly important in this crusade and political artists were using journals and newspapers to communicate their ideas through illustration.^[18] El Machete (1924–29) was a popular communist journal that used woodcut prints.^[18] The woodcut fine art served well because it was a popular style that many could understand.

Artists and activists created collectives such as the Taller de Gráfica Pop (TGP) (1937–nowadays) and The Treintatreintistas (1928–1930) to create prints (many of them woodcut prints) that reflected their socialist and communist values.^[22] ^[20] The TGP attracted artists from all around the world including African American printmaker Elizabeth Catlett, whose woodcut prints later influenced the art of social movements in the U.s. in the 1960s and 1970s.^[1] The Treintatreintistas even taught workers and children. The tools for woodcut are easily accessible and the techniques were unproblematic to learn. It was considered an art for the people.^[20]

Mexico at this time was trying to find its identity and develop itself as a unified nation. The form and style of woodcut aesthetic allowed a diverse range of topics and visual culture to wait unified. Traditional, folk images and avant-garde, modern images, shared a similar aesthetic when it was engraved into wood. An prototype of the countryside and a traditional farmer appeared similar to the image of a city.^[twenty] This symbolism was beneficial for politicians who wanted a unified nation. The concrete actions of carving and press woodcuts also supported the values many held about manual labour and supporting worker'south rights.^[20]

Electric current woodcut practices in United mexican states [edit]

Today, in Mexico the activist woodcut tradition is still live. In Oaxaca, a commonage called the Asamblea De Artistas Revolucionarios De Oaxaca (ASARO) was formed during the 2006 Oaxaca protests. They are committed to social change through woodcut art.^[23] Their prints are made into wheat-paste posters which are secretly put up effectually the city.^[24] Artermio Rodriguez is another creative person who lives in Tacambaro, Michoacán who makes politically charged woodcut prints about gimmicky issues.^[1]

Famous works in woodcut [edit]

Europe

Ars moriendi
Dürer's Rhinoceros
Emblem books
Four Horsemen of the Apocalypse
Hypnerotomachia Poliphili
Just So Stories
Lubok prints
Nuremberg Chronicle

Nihon (Ukiyo-e)

Takiyasha the Witch and the Skeleton Spectre
The Dream of the Fisherman's Wife
Thirty-vi Views of Mount Fuji (includes The Keen Wave off Kanagawa)

Notable artists [edit]

The Prophet, woodcut by Emil Nolde, 1912, diverse collections

Irving Amen
Mary Azarian
Aubrey Beardsley
Hans Baldung
Leonard Baskin
Gustave Baumann
Torsten Billman
Carroll Thayer Berry
Emma Bormann
Erich Buchholz
Hans Burgkmair
Domenico Campagnola
Ugo da Carpi
Billy Childish
Salvador Dalí
Gustave Doré
Albrecht Dürer
M. C. Escher
James Flora
Antonio Frasconi
Robert Gibbings
Vincent van Gogh
Urs Graf
Suzuki Harunobu
Hiroshige
Damien Hirst
Jacques Hnizdovsky
Hokusai
Tom Huck
Stephen Huneck
Alfred Garth Jones
Hussein el gebaly
Ernst Ludwig Kirchner
Gaga Kovenchuk
Käthe Kollwitz
J.J. Lankes
James Duard Marshall
Frans Masereel
Hishikawa Moronobu
Edvard Munch
Emil Nolde
Giovanni Battista Palumba (Primary I.B. with a Bird)
Jacob Pins
J. G. Posada
Endi E. Poskovic
Hannah Tompkins
Henriette Tirman
Clément Serveau
Paul Signac
Eric Slater
Marcelo Soares
Utamaro
Félix Vallotton
Karel Vik
Leopold Wächtler
Sylvia Solochek Walters
Susan Dorothea White

Stonecut [edit]

In parts of the globe (such as the arctic) where woods is rare and expensive, the woodcut technique is used with rock every bit the medium for the engraved paradigm.^[25]

Notes [edit]

^ ^a ^b ^c ^d "Gouge: The Modern Woodcut 1870 to Now – Hammer Museum". The Hammer Museum . Retrieved 18 March 2019.
^ Landau & Parshall, 21–22; Uglow, 2006. p. xiii.
^ ^a ^b Hind, Arthur M. (1963). An Introduction to a History of Woodcut. Houghton Mifflin Co. 1935 (in USA), reprinted Dover Publications, 1963. pp. 64–94. ISBN978-0-486-20952-4.
^ Shelagh Vainker in Anne Farrer (ed), "Caves of the One thousand Buddhas", 1990, British Museum publications, ISBN 0-7141-1447-two
^ Hsü, Immanuel C. Y. (1970). The Rise of Modern Prc. New York: Oxford University Press. p. 830. ISBN978-0-nineteen-501240-8.
^ Ives, C F (1974). The Keen Wave: The Influence of Japanese Woodcuts on French Prints . The Metropolitan Museum of Art. ISBN978-0-87099-098-iv.
^ "Shi zhu zhai shu hua pu, or, Ten Bamboo Studio drove of calligraphy and painting". Cambridge Digital Library. Retrieved xi August 2015.
^ Fifty Sickman & A Soper, "The Art and Architecture of Mainland china", Pelican History of Fine art, tertiary ed 1971, Penguin, LOC seventy-125675
^ Carey, Frances; Griffiths, Antony (1984). The Print in Frg, 1880–1933: The Age of Expressionism. London: British Museum Press. ISBN978-0-7141-1621-1.
^ "Portrait of Otto Müller (1983,0416.3)". British Museum Drove Database. London: British Museum. Retrieved 5 June 2010.
^ so Landau and Parshall, 179–192; but Bartrum, 179 and Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna, Royal Academy, London, March–June 2014, exhibition guide, both credit Cranach with the innovation in 1507.
^ Landau and Parshall, 150
^ "Ugo da Carpi later Parmigianino: Diogenes (17.50.one) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art". Metmuseum.org. 3 February 2012. Retrieved eighteen February 2012.
^ Landau and Parshall, The Renaissance Print, pp. 179–202; 273–81 & passim; Yale, 1996, ISBN 0-300-06883-2
^ Sjöberg, Leif, Torsten Billman and the Forest Engraver'southward Fine art, pp. 165–171. The American Scandinavian Review, Vol. LXI, No. two, June 1973. New York 1973.
^ Hung, Chang-Tai (1997). "Two images of Socialism: Woodcuts in Chinese Communist Politics". Comparative Studies in Lodge and History. 39 (i): 34–60. JSTOR 179238.
^ ^a ^b ^c ^d McDonald, Mark (2016). "Printmaking in Mexico, 1900–1950". The Metropolitan Museum of Art.
^ ^a ^b ^c ^d Azuela, Alicia (1993). "El Machete and Frente a Frente: Art Committed to Social Justice in Mexico". Art Journal. 52 (i): 82–87. doi:10.2307/777306. ISSN 0004-3249. JSTOR 777306.
^ Wright, Melissa Westward. (2017). "Visualizing a country without a hereafter: Posters for Ayotzinapa, Mexico and the struggles against country terror". Geoforum. 102: 235–241. doi:ten.1016/j.geoforum.2017.10.009. S2CID 149103719.
^ ^a ^b ^c ^d ^e Montgomery, Harper (Dec 2011). ""Enter for Gratuitous": Exhibiting Woodcuts on a Street Corner in Mexico Metropolis". Art Journal. 70 (4): 26–39. doi:10.1080/00043249.2011.10791070. ISSN 0004-3249. S2CID 191506425.
^ "United mexican states: An Emerging Nation's Struggle Toward Pedagogy". Compare: A Periodical of Comparative and International Education. 5 (2): 8–10. 1 September 1975. doi:ten.1080/03057927509408824. ISSN 0305-7925.
^ Avila, Theresa (4 May 2014). "El Taller de Gráfica Popular and the Chronicles of Mexican History and Nationalism". Third Text. 28 (3): 311–321. doi:10.1080/09528822.2014.930578. ISSN 0952-8822. S2CID 145728815.
^ "ASARO—Asamblea de Artistas Revolucionarios de Oaxaca | Jordan Schnitzer Museum of Fine art". jsma.uoregon.edu . Retrieved 24 March 2019.
^ Graham De La Rosa, Michael; Gilbert, Samuel (25 March 2017). "Oaxaca'due south revolutionary street fine art". Al Jazeera . Retrieved 23 March 2019.
^ John Feeney (1963). Eskimo Artist Kenojuak. National Film Board of Canada.

References [edit]

Bartrum, Giulia; German Renaissance Prints, 1490–1550; British Museum Press, 1995, ISBN 0-7141-2604-vii
Lankes, JJ (1932). A Woodcut Manual. H. Holt.
David Landau & Peter Parshall, The Renaissance Print, Yale, 1996, ISBN 0-300-06883-2
Uglow, Jenny (2006). Nature'due south Engraver: A Life of Thomas Bewick. Faber and Faber.

External links [edit]

Wikimedia Commons has media related to Woodcuts.

Ukiyo-e from the Metropolitan Museum of Art Timeline of Art History
Woodcut in Europe from the Metropolitan Museum of Art Timeline of Art History
Italian Renaissance Woodcut Book Illustration from the Metropolitan Museum of Fine art Timeline of Art History
Prints & People: A Social History of Printed Pictures, an exhibition itemize from The Metropolitan Museum of Art (fully available online as PDF), which contains material on woodcuts
Museum of Modern Art information on printing techniques and examples of prints.
Woodcut in early printed books (online exhibition from the Library of Congress)
A collection of woodcuts images tin can be plant at the University of Houston Digital Library Archived 1 November 2012 at the Wayback Car
Meditations, or the Contemplations of the About Devout is a 15th-century publication that is considered the showtime Italian illustrated book, using early on woodcut techniques.

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Source: https://en.wikipedia.org/wiki/Woodcut

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