What Is the Term for Art That Has Been Created Using a Gouge to Make Highrelief Areas for the Image

Relief printing technique

Woodcut is a relief printing technique in printmaking. An creative person carves an prototype into the surface of a block of forest—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts abroad acquit 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 woods engraving, where the block is cutting 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 tin be printed by keying the paper to a frame around the woodblocks (using a different block for each color). The fine art of carving the woodcut can be chosen "xylography", but this is rarely used in English for images lone, 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 popular in Europe during the latter half of the 15th century. A unmarried-sheet woodcut is a woodcut presented as a single image or print, as opposed to a book illustration.

Since its origins in China, the practice 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, called formschneider or block-cutters, some of whom became well known in their ain correct. Among these, the all-time-known are the 16th-century Hieronymus Andreae (who likewise used "Formschneider" as his surname), Hans Lützelburger and Jost de Negker, all of whom ran workshops and likewise operated equally printers and publishers. The formschneider in turn handed the block on to specialist printers. There were further specialists who made the blank blocks.

This is why woodcuts are sometimes described past museums or books as "designed past" rather than "past" an artist; simply most government do not use this distinction. The division of labour had the reward that a trained artist could adapt to the medium relatively easily, without needing to larn the use of woodworking tools.

There were various methods of transferring the artist's fatigued pattern onto the block for the cutter to follow. Either the drawing would be made directly onto the cake (frequently whitened first), or a cartoon on newspaper was glued to the cake. Either fashion, the artist'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 process themselves. In Japan, this movement was chosen sōsaku-hanga ( 創作版画 , creative prints ), every bit opposed to shin-hanga ( 新版画 , new prints ), a movement 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 ocean, Woodcut by Rudyard Kipling illustrating one of his Merely And so Stories (1902). In mixed white-line (beneath) and normal woodcut (higher up).

Compared to intaglio techniques similar carving and engraving, simply depression pressure is required to print. As a relief method, it is merely necessary to ink the block and bring it into firm and even contact with the paper or material to achieve an acceptable print. In Europe, a variety of woods including boxwood and several nut and fruit woods like pear or cherry-red were commonly used;^[2] in Nippon, the woods of the cherry species Prunus serrulata was preferred.^{[ citation needed ]}

There are three methods of printing to consider:

Stamping: Used for many fabrics and most early European woodcuts (1400–twoscore). These were printed past putting the paper/cloth on a tabular array or other flat surface with the block on height, and pressing or hammering the back of the block.
Rubbing: Manifestly the most common method for Far Eastern printing on paper at all times. Used for European woodcuts and block-books later in the fifteenth century, and very widely for cloth. Also used for many Western woodcuts from about 1910 to the present. The block goes face on a table, with the paper or fabric on elevation. The back is rubbed with a "difficult pad, a flat slice of wood, a burnisher, or a leather frotton".^[three] A traditional Japanese tool used for this is chosen a baren. Later in Nippon, complex wooden mechanisms were used to help hold the woodblock perfectly even so and to apply proper pressure in the printing process. This was particularly helpful once multiple colors were introduced and had to be applied with precision atop previous ink layers.
Press in a printing: presses only seem to accept been used in Asia in relatively recent times. Press-presses were used from about 1480 for European prints and block-books, and before that for woodcut book illustrations. Simple weighted presses may have been used in Europe before the impress-press, simply house prove is lacking. A deceased Abbess of Mechelen in 1465 had "unum instrumentum ad imprintendum scripturas et ymagines ... cum 14 aliis lapideis printis"—"an musical instrument for printing texts and pictures ... with 14 stones for press". This is probably too early to be a Gutenberg-type press press in that location.^[three]

History [edit]

Chief articles Old main print for Europe, Woodblock printing in Nihon for Japan, and Lubok for Russian federation

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

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

Woodcut originated in Cathay in antiquity equally a method of printing on textiles and later on newspaper. The earliest woodblock printed fragments to survive are from Communist china, from the Han dynasty (before 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."^[five] Paper arrived in Europe, likewise from China via al-Andalus, slightly afterward, and was beingness manufactured in Italy by the stop of the thirteenth century, and in Burgundy and Germany by the stop of the fourteenth.

In Europe, woodcut is the oldest technique used for old master prints, developing about 1400, by using, on paper, existing techniques for printing. One of the more ancient woodcuts on newspaper that tin 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 cheap woodcuts in the middle of the century led to a fall in standards, and many pop prints were very rough. The development of hatching followed on rather afterward than engraving. Michael Wolgemut was significant in making German woodcuts more sophisticated from nearly 1475, and Erhard Reuwich was the first to utilize cantankerous-hatching (far harder to practice than engraving or etching). Both of these produced mainly book-illustrations, every bit did various Italian artists who were also raising standards at that place at the same period. At the end 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-leaf" woodcut (i.eastward. an image sold separately).

Considering woodcuts and movable type are both relief-printed, they tin easily be printed together. Consequently, woodcut was the principal medium for book illustrations until the late sixteenth century. The first woodcut volume analogy dates to almost 1461, but a few years after the offset of printing with movable blazon, printed by Albrecht Pfister in Bamberg. Woodcut was used less often for individual ("single-leaf") fine-art prints from nigh 1550 until the late nineteenth century, when interest revived. It remained important for popular prints until the nineteenth century in near of Europe, and later in some places.

The art reached a high level of technical and artistic development in Eastern asia and Islamic republic of iran. Woodblock printing in Nippon is chosen moku-hanga and was introduced in the seventeenth century for both books and art. The popular "floating earth" genre of ukiyo-east originated in the 2nd half of the seventeenth century, with prints in monochrome or two colours. Sometimes these were mitt-coloured after press. Later, prints with many colours were developed. Japanese woodcut became a major artistic form, although at the fourth dimension it was accorded a much lower status than painting. It continued to develop through to the twentieth century.

White-line woodcut [edit]

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

This technique just carves the prototype in mostly thin lines, like to a rather rough engraving. The block is printed in the normal fashion, so that most of the print is black with the image created by white lines. This process was invented by the sixteenth-century Swiss artist Urs Graf, merely became about pop in the nineteenth and twentieth century, often in a modified form where images used large areas of white-line assorted with areas in the normal black-line style. This was pioneered by Félix Vallotton.

Japonism [edit]

In the 1860s, just as the Japanese themselves were becoming aware of Western art in full general, Japanese prints began to accomplish Europe in considerable numbers and became very fashionable, especially in French republic. They had a great 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".^[6]

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

Artists, notably Edvard Munch and Franz Masereel, continued to use the medium, which in Modernism came to entreatment because it was relatively like shooting fish in a barrel to complete the whole process, including printing, in a studio with little special equipment. The High german Expressionists used woodcut a good deal.

Colour [edit]

Coloured woodcuts first appeared in aboriginal Cathay. The oldest known are three Buddhist images dating to the 10th century. European woodcut prints with coloured blocks were invented in Frg in 1508, and are known equally chiaroscuro woodcuts (run into below). However, colour did non become the norm, as it did in Japan in the ukiyo-e and other forms.

In Europe and Japan, color woodcuts were ordinarily merely used for prints rather than book illustrations. In China, where the private print did not develop until the nineteenth century, the contrary is truthful, and early on colour woodcuts more often than not occur in luxury books about art, especially the more than prestigious medium of painting. The first known instance is a book on ink-cakes printed in 1606, and colour technique reached its top in books on painting published in the seventeenth century. Notable examples are Hu Zhengyan'south Treatise on the Paintings and Writings of the 10 Bamboo Studio of 1633,^[7] and the Mustard Seed Garden Painting Transmission published in 1679 and 1701.^[viii]

In Japan colour technique, called nishiki-e in its fully adult class, spread more widely, and was used for prints, from the 1760s on. Text was nearly always monochrome, as were images in books, but the growth of the popularity of ukiyo-due east brought with information technology demand for e'er-increasing numbers of colors and complication of techniques. By the nineteenth century most artists worked in colour. The stages of this development were:

Sumizuri-e (墨摺り絵, "ink printed pictures") – monochrome printing using merely black ink
Benizuri-e (紅摺り絵, "crimson printed pictures") – cherry ink details or highlights added by manus after the printing process；green was sometimes used besides
Tan-e (丹絵) – orangish highlights using a cerise pigment chosen tan
Aizuri-eastward (藍摺り絵, "indigo printed pictures"), Murasaki-e (紫絵, "purple pictures"), and other styles that used a unmarried color in add-on to, or instead of, black ink
Urushi-e (漆絵) – a method that used gum to thicken the ink, emboldening the prototype; gold, mica and other substances were often used to enhance the image further. Urushi-e tin can also refer to paintings using lacquer instead of paint; lacquer was very rarely if always used on prints.
Nishiki-e (錦絵, "brocade pictures") – a method that used multiple blocks for separate portions of the image, so a number of colors could attain incredibly complex and detailed images; a separate block was carved to apply but to the portion of the prototype designated for a unmarried colour. Registration marks called kentō (見当) ensured correspondence between the application of each block.

A number of different methods of colour printing using woodcut (technically Chromoxylography) were adult 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 dark colour, and then overprinted with up to twenty different colours from woodblocks. Edmund Evans used relief and wood throughout, with up to eleven different colours, and latterly specialized in illustrations for children'southward books, using fewer blocks but overprinting non-solid areas of colour to reach blended colours. Artists such as Randolph Caldecott, Walter Crane and Kate Greenaway were influenced by the Japanese prints now available and stylish in Europe to create a suitable style, with apartment areas of colour.

In the 20th century, Ernst Ludwig Kirchner of the Die Brücke group developed a process of producing colored woodcut prints using a single block applying different colors to the cake with a castor à la poupée and then press (halfway between a woodcut and a monotype).^[9] A remarkable case 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 old chief prints in woodcut using 2 or more blocks printed in different colours; they practice not necessarily characteristic strong contrasts of lite and dark. They were first produced to achieve similar effects to chiaroscuro drawings. After some early on experiments in book-printing, the true chiaroscuro woodcut conceived for two blocks was probably outset invented by Lucas Cranach the Elderberry in Deutschland in 1508 or 1509, though he backdated some of his first prints and added tone blocks to some prints start produced for monochrome printing, swiftly followed by Hans Burgkmair.^[xi] Despite Giorgio Vasari'due south claim for Italian precedence in Ugo da Carpi, it is clear that his, the get-go Italian examples, appointment to around 1516.^[12] ^[thirteen]

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

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

Modernistic woodcut printing in Mexico [edit]

José Guadalupe Posada, Calavera Oaxaqueña, 1910

Woodcut printmaking became a pop course of art in United mexican states during the early 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 China, woodcut art was being used during this time as well to spread leftist politics such as socialism, communism, and anti-fascism.^[16] In Mexico, the art manner was fabricated popular by José Guadalupe Posada, who was known as the father of graphic art and printmaking in Mexico and is considered the first Mexican mod artist.^[17] ^[18] He was a satirical cartoonist and an engraver before and during the Mexican Revolution and he popularized Mexican folk and indigenous fine art. He created the woodcut engravings of the iconic skeleton (calaveras) figures that are prominent in Mexican arts and culture today (such every bit in Disney Pixar'south Coco).^[19] Come across La Calavera Catrina for more on Posada'southward calaveras.

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

Subsequently the Mexican Revolution, the country was in political and social upheaval - there were worker strikes, protests, and marches. These events needed inexpensive, mass-produced visual prints to exist pasted on walls or handed out during protests.^[17] Information needed to be spread quickly and cheaply to the general public.^[17] Many people were still illiterate during this time and in that location was button afterwards the Revolution for widespread educational activity. In 1910 when the Revolution began, but 20% of Mexican people could read.^[21] 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.^[xviii] The woodcut art served well because it was a popular style that many could understand.

Artists and activists created collectives such every bit the Taller de Gráfica Pop (TGP) (1937–present) 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 Us in the 1960s and 1970s.^[1] The Treintatreintistas even taught workers and children. The tools for woodcut are hands attainable and the techniques were elementary to learn. It was considered an art for the people.^[20]

Mexico at this fourth dimension was trying to discover its identity and develop itself every bit a unified nation. The form and way of woodcut aesthetic allowed a various range of topics and visual culture to look unified. Traditional, folk images and avant-garde, modern images, shared a similar aesthetic when it was engraved into forest. An prototype of the countryside and a traditional farmer appeared similar to the image of a metropolis.^[20] This symbolism was beneficial for politicians who wanted a unified nation. The concrete actions of carving and printing woodcuts too supported the values many held virtually manual labour and supporting worker's rights.^[20]

Current woodcut practices in Mexico [edit]

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

Famous works in woodcut [edit]

Europe

Ars moriendi
Dürer's Rhino
Emblem books
Iv Horsemen of the Apocalypse
Hypnerotomachia Poliphili
Just And then Stories
Lubok prints
Nuremberg Chronicle

Japan (Ukiyo-e)

Takiyasha the Witch and the Skeleton Spectre
The Dream of the Fisherman'southward Wife
Thirty-six Views of Mount Fuji (includes The Great Wave off Kanagawa)

Notable artists [edit]

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

Irving Amen
Mary Azarian
Aubrey Beardsley
Hans Baldung
Leonard Baskin
Gustave Baumann
Torsten Billman
Carroll Thayer Drupe
Emma Bormann
Erich Buchholz
Hans Burgkmair
Domenico Campagnola
Ugo da Carpi
Billy Childish
Salvador Dalí
Gustave Doré
Albrecht Dürer
K. 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 (Master I.B. with a Bird)
Jacob Pins
J. G. Posada
Endi Eastward. 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 world (such as the arctic) where wood is rare and expensive, the woodcut technique is used with stone equally the medium for the engraved image.^[25]

Notes [edit]

^ ^a ^b ^c ^d "Gouge: The Modern Woodcut 1870 to At present – 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 1000 Buddhas", 1990, British Museum publications, ISBN 0-7141-1447-2
^ Hsü, Immanuel C. Y. (1970). The Rise of Mod Communist china. New York: Oxford Academy Press. p. 830. ISBN978-0-19-501240-8.
^ Ives, C F (1974). The Bully Wave: The Influence of Japanese Woodcuts on French Prints . The Metropolitan Museum of Art. ISBN978-0-87099-098-4.
^ "Shi zhu zhai shu hua pu, or, Ten Bamboo Studio collection of calligraphy and painting". Cambridge Digital Library. Retrieved 11 August 2015.
^ L Sickman & A Soper, "The Art and Compages of Cathay", Pelican History of Fine art, 3rd ed 1971, Penguin, LOC 70-125675
^ Carey, Frances; Griffiths, Antony (1984). The Print in Frg, 1880–1933: The Age of Expressionism. London: British Museum Press. ISBN978-0-7141-1621-i.
^ "Portrait of Otto Müller (1983,0416.three)". British Museum Drove Database. London: British Museum. Retrieved v June 2010.
^ so Landau and Parshall, 179–192; only 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 after Parmigianino: Diogenes (17.50.one) | Heilbrunn Timeline of Fine art History | The Metropolitan Museum of Fine art". Metmuseum.org. 3 February 2012. Retrieved 18 February 2012.
^ Landau and Parshall, The Renaissance Print, pp. 179–202; 273–81 & passim; Yale, 1996, ISBN 0-300-06883-two
^ Sjöberg, Leif, Torsten Billman and the Wood Engraver's Art, pp. 165–171. The American Scandinavian Review, Vol. LXI, No. 2, June 1973. New York 1973.
^ Hung, Chang-Tai (1997). "Two images of Socialism: Woodcuts in Chinese Communist Politics". Comparative Studies in Club and History. 39 (1): 34–sixty. JSTOR 179238.
^ ^a ^b ^c ^d McDonald, Mark (2016). "Printmaking in Mexico, 1900–1950". The Metropolitan Museum of Fine art.
^ ^a ^b ^c ^d Azuela, Alicia (1993). "El Machete and Frente a Frente: Art Committed to Social Justice in Mexico". Art Periodical. 52 (1): 82–87. doi:10.2307/777306. ISSN 0004-3249. JSTOR 777306.
^ Wright, Melissa Due west. (2017). "Visualizing a country without a future: Posters for Ayotzinapa, Mexico and the struggles against state terror". Geoforum. 102: 235–241. doi:10.1016/j.geoforum.2017.10.009. S2CID 149103719.
^ ^a ^b ^c ^d ^e Montgomery, Harper (Dec 2011). ""Enter for Gratis": Exhibiting Woodcuts on a Street Corner in Mexico City". Art Journal. 70 (4): 26–39. doi:10.1080/00043249.2011.10791070. ISSN 0004-3249. S2CID 191506425.
^ "Mexico: An Emerging Nation'south Struggle Toward Pedagogy". Compare: A Journal of Comparative and International Pedagogy. 5 (2): 8–10. 1 September 1975. doi:10.1080/03057927509408824. ISSN 0305-7925.
^ Avila, Theresa (iv May 2014). "El Taller de Gráfica Popular and the Chronicles of Mexican History and Nationalism". Third Text. 28 (three): 311–321. doi:x.1080/09528822.2014.930578. ISSN 0952-8822. S2CID 145728815.
^ "ASARO—Asamblea de Artistas Revolucionarios de Oaxaca | Jordan Schnitzer Museum of Art". jsma.uoregon.edu . Retrieved 24 March 2019.
^ Graham De La Rosa, Michael; Gilbert, Samuel (25 March 2017). "Oaxaca'due south revolutionary street 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 0-7141-2604-7
Lankes, JJ (1932). A Woodcut Transmission. H. Holt.
David Landau & Peter Parshall, The Renaissance Impress, Yale, 1996, ISBN 0-300-06883-ii
Uglow, Jenny (2006). Nature'due south Engraver: A Life of Thomas Bewick. Faber and Faber.

External links [edit]

Wikimedia Eatables has media related to Woodcuts.

Ukiyo-eastward from the Metropolitan Museum of Art Timeline of Art History
Woodcut in Europe from the Metropolitan Museum of Art Timeline of Fine art History
Italian Renaissance Woodcut Book Illustration from the Metropolitan Museum of Art Timeline of Art History
Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online equally PDF), which contains material on woodcuts
Museum of Mod Art data on press techniques and examples of prints.
Woodcut in early printed books (online exhibition from the Library of Congress)
A collection of woodcuts images can be found at the University of Houston Digital Library Archived 1 November 2012 at the Wayback Machine
Meditations, or the Contemplations of the Most Devout is a 15th-century publication that is considered the outset Italian illustrated book, using early woodcut techniques.

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