The Prints, Bookworks and drawings of Birgit Skiold (1923-1982), an interactive 'catalogue-raisonne' based on works in the BSMT collection

该项目旨在为比尔吉特·斯基尔德(Birgit Skiöld，1923-1982)的版画、书籍和素描制作一个图文并茂的互动“目录-存在”项目，该项目基于比尔吉特·斯基尔德纪念信托基金的大量作品收藏，以及V&A Word&Image部门的版画。一名艺术历史学家、一名互动媒体设计师和一名版画家，在摄影师和数字专家组成的技术团队的大力支持下，对应用于版画的凹版和绘画技术具有专门知识，花了12个月的时间研究、拍摄、设计和开发斯基尔德作品的电子目录。其他支持这项工作的专家包括接受采访的艺术家的印刷商、一名纸张专家、一名平版印刷专家和博物馆档案。之前的研究得出了一份编辑版画的工作目录。随着工作的进展，基于展览目录(遗赠)和手册的现有知识显然是不够的，也是不准确的。艺术家制作艺术家校样的做法(分配了版本，但并不总是产生)意味着，如果作品目录仅限于版本，许多有趣的作品将被忽视。新目录包括从艺术家展出作品清单中提取的编辑作品和艺术家校样的最新信息，工作室日记簿中校对和编辑的参考资料，通信和其他记录，以及版画本身的数据。在英国和瑞典，研究人员已经研究了2000多种印象。从新的证据中，有可能修改这位艺术家的创作年表，并将关于她作品的知识从1953年左右延伸到1983年的死后印刷版。从对她的艺术起源的调查中，一幅关于斯基尔德从1948年抵达英国并在20世纪50年代定居英国和随后在伦敦学习，以及在1957-1958年建立她著名的工作室--印刷工作室--的艺术发展的画面浮出水面。她与法国学派的联系，以及法国版画方法的影响，以及源自斯坦利·海特的Atelier 17的凹版工艺的创新思想，都被揭示出来。她认识罗伯特·厄斯金，他经营着伦敦圣乔治画廊的版画，在市场需要重振的时候，他鼓励用活跃的方式欣赏和创作精美的艺术版画。20世纪50年代和60年代初，斯基尔德帮助厄斯金组织了展览，并在关键的版画展览中展示了她自己的作品。斯柯尔德早期对版画文化的贡献是在重要的复兴和文艺复兴时期。斯基尔德的丈夫彼得·伯德是一名艺术历史学家和艺术管理人员，他在1983-2004年研究了斯基尔德的传记和职业生涯。他整理了展览目录、与其他艺术家的通信、图片记录和其他文件，并保存了印刷车间的日记本，这不仅是关于滑雪的重要来源，也是关于版画文化的一个迷人时代的重要来源，因为提到了许多在印刷车间工作的艺术家1958-1982年。通过将这些文件与这一时期的文章和评论中的其他参考文献以及印刷品本身进行交叉引用，可以更好地了解斯基尔德在20世纪60年代和70年代的产出及其背景。编年史有助于解释她的作品的发展、主题和过程。新作品包括对书籍、出版物和图画的描述。在英国、泰特美术馆、大英博物馆和伦敦大英图书馆，对其他藏品中的精选作品进行了研究。此外，伯明翰博物馆和美术馆和切尔滕纳姆美术馆和博物馆。在瑞典，克朗伯格和斯基尔德家族收藏。瑞典格拉菲肯胡斯博物馆和斯德哥尔摩现代博物馆的藏品将在适当的时候被添加到收藏品名单中。

The project to develop an illustrated interactive 'catalogue-raisonné' of prints, bookworks and drawings by Birgit Skiöld (1923-1982) is based on the Birgit Skiöld Memorial Trust's large collection of work by the artist, and prints in the V&A Word & Image Department. An art-historian, an interactive media designer, and a printmaker with specialist knowledge of intaglio and drawing techniques applied to printmaking, strongly supported by a technical team of photographers and digital specialists worked for 12 months to research, photograph, design and develop an electronic catalogue of Skiöld's work. Other specialists who supported this work include the artist's printers, who were interviewed, a paper expert, an expert in lithography and museum archivists.Previous research resulted in a working catalogue of editioned prints. As work progressed it became clear that existing knowledge based on exhibition catalogues (posthumous) and handlists was not sufficient, nor accurate. The artist's practice of generating artist's proofs, (with editions assigned, but not always produced), meant that many interesting works would be neglected if the catalogue of works was restricted to editions alone. The new catalogue includes fresh information about the editioned works and artist's proofs extracted from the artist's lists of exhibited works, references to proofing and editioning in the studio daybooks, correspondence and other records, and data from the prints themselves. Over 2,000 impressions have been studied, in the U.K and in Sweden. From the new evidence, it has been possible to revise the chronology of the artist's output and to extend knowledge about her work from c.1953 to the posthumously printed editions of 1983.Arising from the investigation of her artistic origins, a picture has emerged of Skiöld's artistic development from her arrival in Britain in 1948 where she was to settle, and her subsequent studies in London, during the 1950s, and the establishment of her famous studio, Print Workshop in 1957-8. Her connections to the French school, and the influence of French printmaking approaches as well as the innovative ideas on intaglio processes, emanating from Stanley Hayter's Atelier 17, are revealed. She knew Robert Erskine, who ran St George's Gallery Prints, London, and who encouraged an enlivened approach to appreciating and producing fine art prints at a time when the market was in need of revitalisation. Skiöld helped organise exhibitions for Erskine and showed her own work in key printmaking exhibitions during the 1950s and early 1960s. Skiöld's early contribution to printmaking culture was at a time of important revival and renaissance. Skiöld's husband, Peter Bird, an art historian and arts administrator, had researched Skiöld's biography and career in 1983-4. He collated catalogues of exhibitions, correspondence with other artists, pictorial records and other documents, and preserved the Daybooks belonging to Print Workshop, an important source not only on Skiöld but also on a fascinating era in printmaking culture, since many of the artists who worked at Print Workshop 1958 -1982 are mentioned. From cross-referencing these documents with other references in articles and reviews of the period, as well as the prints themselves, it has been possible to construct a better idea of Skiöld's output in the 1960s and 1970s, and its context. The chronological account has been helpful in explaining the development of her work, its themes and processes.New work includes descriptions of the bookworks, publications, and drawings. Selected works held in other collections have been studied, in Britain, Tate Gallery, the British Museum and the British Library, London. Also, Birmingham Museum & Art Gallery and Cheltenham Art Gallery & Museum. In Sweden, the Kronberg and Skiöld family collections. The holdings at the Grafiken Hus, Sweden and the Moderna Museet, Stockholm will be added to the collections lists in due course.