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This richly illustrated volume offers a new look at the exceptional collection of Italian drawings at the Princeton University Art Museum. An introductory essay by Laura M. Giles chronicles the history and significance of the collection, and nearly one hundred of the collection's masterworks are treated with essay-length entries and full-page images. The first scholarly examination of the collection since Felton Gibbons's comprehensive publication of 1977, the catalogue includes an appendix of more than 150 drawings that have entered the collection since--many previously unpublished, and all fully documented with short entries. Highlights include works by celebrated masters, including Carpaccio and Modigliani, from the early Renaissance through the early Modern periods, with an emphasis on the collection's renowned holdings of works by Luca Cambiaso, Guercino, and the two Tiepolos. With contributions by Alessandra Bigi Iotti, Jonathan Bober, Giada Damen, Diane de Grazia, Rhoda Eitel-Porter, Frederick Ilchman, Anne Varick Lauder, John Marciari, Elizabeth Pilliod, John Pinto, David Stone, Catherine Whistler, and Giulio Zavatta.
Perhaps more than any other collector of his generation in the United States, Robert Lehman was interested in acquiring early drawings. He made a great effort to add drawings to the collection of paintings, sculpture, ceramics, glass, and other objects that his father, Philip Lehman, had begun assembling. The 116 Italian drawings analyzed and discussed in this volume are among the more than 2,000 works of art from the collection now housed in the Robert Lehman Wing of The Metropolitan Museum of Art. Robert Lehman's collection demonstrates the variety of drawings produced in Italy from the fifteenth to the seventeenth century, a period when the purposes and techniques of drawings, as well as the aims and abilities of the artist who made them, became increasingly sophisticated. The volume includes an elaborate design for an equestrian monument by Antonio Pollaiuolo, a magnificent study of a bear by Leonardo da Vinci, a cartoon by Luca Signorelli, a study for a vault fresco by Taddeo Zuccaro, and many other drawings that are among the best Italian examples to have survived from that era. Most types of drawings, in a wide variety of techniques, are represented—figure studies, grand compositions, landscapes, cartoons, modelli, and even sculptors' studies. -- Metropolitan Museum of Art website.
This volume describes and reproduces 379 drawings by Italian artists of the seventeenth century in The Metropolitan Museum of Art. The most brilliant draughtsmen of this period--Annibale Carracci, G.B. Castiglione, Pietro da Cortona, Guercino, Carlo Maratti, and Salvator Rosa--are well represented in the Museum's collection, and the book offers a survey of Italian baroque draughtsmanship. It includes innovative work by Carracci, as well as drawings by such late baroque masters as Sebastiano Ricci and Francesco Solimena. Four hundred five illustrations are contained in this inventory. Entries for the drawings provide essential bibliographical references, provenance, and a discussion of the purpose of the drawing when known. -- Inside jacket flap.
Why is a cross-eyed man from the small town of Cento in northern Italy now regarded as one of the greatest draftsmen of the seventeenth century? Featuring important Guercino drawings from the Courtauld Institute of Art Gallery, London, and the J. Paul Getty Museum, Los Angeles, this volume looks deeply into the nature of the artist’s extraordinary talent for drawing.