Graphic art in the context of "Engraving"

A cradle of civilization is a location and a culture where civilization was developed independently of other civilizations in other locations. A civilization is any complex society characterized by the development of the state, social stratification, urbanization, and symbolic systems of communication beyond signed or spoken languages (namely, writing systems and graphic arts).

Scholars generally acknowledge six cradles of civilization: Mesopotamia, Ancient Egypt, Ancient India and Ancient China are believed to be the earliest in Afro-Eurasia, while the Caral–Supe civilization of coastal Peru and the Olmec civilization of Mexico are believed to be the earliest in the Americas. All of the cradles of civilization depended upon agriculture for sustenance (except possibly Caral–Supe which may have depended initially on marine resources). All depended upon farmers producing an agricultural surplus to support the centralized government, political leaders, religious leaders, and public works of the urban centers of the early civilizations.

The Kupferstichkabinett, or Museum of Prints and Drawings, is a prints museum in Berlin, Germany. It is part of the Berlin State Museums, and is located in the Kulturforum on Potsdamer Platz. It is the largest museum of graphic art in Germany, with more than 500,000 prints and around 110,000 individual works on paper (drawings, pastels, watercolours, oil sketches).

The Rückenfigur (literally "back-figure") is a compositional device in painting, graphic art, photography, and film. A person is seen from behind in the foreground of the image, contemplating the view before them, and is a means by which the viewer can identify with the image's figure and then recreate the space to be conveyed. It is commonly associated with German Romantic painting and particularly the landscape painter Caspar David Friedrich. In art historical research, it is debated whether the Rückenfigur actually invites identification or rather encourages second-order observation.

The Rückenfigur motif dates to antiquity and has since been employed in many different eras and styles of art. Before Friedrich, such figures were not generally the subject of the work. Giotto's Lamentation of Christ (1300s) is an early example of non-subject figures turned from the viewer. The Rückenfigur may also take the form of staffage.