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

Birgit Skiöld（1923-1982）的版画、书籍和绘画作品的插图互动“目录-原因<e:1>”项目是基于Birgit Skiöld纪念信托基金的大量艺术家作品，以及V&A文字与图像部门的版画。一位艺术历史学家，一位互动媒体设计师，一位版画家，他对凹版印刷和绘画技术有专业的了解，并将其应用于版画制作，在摄影师和数字专家组成的技术团队的大力支持下，他们花了12个月的时间研究、拍摄、设计和开发了Skiöld作品的电子目录。支持这项工作的其他专家包括艺术家的印刷商，他们接受了采访，纸张专家，平版印刷专家和博物馆档案保持者。先前的研究产生了一份印刷版本的工作目录。随着工作的进展，基于展览目录（死后）和手单的现有知识显然是不够的，也不准确。艺术家的实践产生艺术家的校样，（与版本指定，但并不总是生产），意味着许多有趣的作品将被忽视，如果作品目录仅限于版本单独。新的目录包括从艺术家的展出作品列表中提取的关于版本作品和艺术家的校样的新信息，工作室日记本中对校对和编辑的参考，通信和其他记录，以及印刷品本身的数据。在英国和瑞典研究了超过2000个印象。根据新的证据，我们有可能修改这位艺术家作品的年表，并将对她的作品的了解从1953年左右延伸到她死后出版的1983年版本。从对其艺术起源的调查中，我们可以看到Skiöld的艺术发展，从1948年她来到英国定居，到20世纪50年代她在伦敦的学习，以及1957年至1958年她著名的工作室Print Workshop的建立。她与法国学校的联系，以及法国版画方法的影响，以及来自Stanley Hayter的Atelier 17的凹版工艺的创新理念，都被揭示出来。她认识罗伯特·厄斯金（Robert Erskine），他经营着伦敦的圣乔治画廊版画（St George’s Gallery Prints），在市场需要振兴的时候，厄斯金鼓励人们以一种活跃的方式欣赏和制作精美的艺术版画。Skiöld帮助厄斯金组织展览，并在20世纪50年代和60年代初的重要版画展览中展示了她自己的作品。Skiöld对版画文化的早期贡献是在一个重要的复兴和文艺复兴时期。Skiöld的丈夫彼得·伯德（Peter Bird）是一位艺术史学家和艺术管理人员，他在1983-4年研究了Skiöld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，并保存了属于版画工作室的日刊，这不仅是Skiöld的重要来源，也是版画文化迷人时代的重要来源，因为许多在1958年至1982年在版画工作室工作的艺术家都被提及。通过将这些文件与该时期的文章和评论中的其他参考文献以及印刷品本身相互对照，可以更好地了解Skiöld在1960年代和1970年代的产出及其背景。按时间顺序的叙述有助于解释她的作品的发展、主题和过程。新的工作包括对书籍、出版物和图纸的描述。在英国的泰特美术馆、大英博物馆和伦敦的大英图书馆，对其他收藏的精选作品进行了研究。此外，伯明翰博物馆和艺术画廊和切尔滕纳姆艺术画廊和博物馆。在瑞典，Kronberg和Skiöld家族收藏。瑞典Grafiken Hus和斯德哥尔摩Moderna Museet的藏品将在适当的时候被列入收藏名单。

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.