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Essay by Magdalena Dabrowski. Foreword by Richard E. Oldenburg.
In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
The only comprehensive history of pastel art, beautifully illustrated with works both celebrated and little known The Art of the Pastel traces the evolution of this most appealing medium from the fifteenth to the early twentieth century—from its humble origins as a tool for sketching to the height of its popularity in Rococo portraiture, and its embrace by the Impressionists and Symbolists. Authors Thea Burns and Philippe Saunier, both leading experts on the subject, shed new light on the acknowledged masters of the pastel, such as Maurice Quentin de la Tour and Jean-Etienne Liotard, who used these magical sticks of color to capture the character of their sitters; Edgar Degas and Mary Cassatt, who used them to reveal the unexpected beauties of the everyday; and Odilon Redon, who used them to explore the inner mysteries of the spirit. But Burns and Saunier consider the pastel work of many other artists as well, from forgotten—yet pleasing—society portraitists to such important names as Delacroix, Whistler, and Picasso. As a rare achievement, their graceful yet authoritative text is matched by the color plates in this volume, which reproduce the harmoniously blended hues of more than 330 choice pastels, from collections around the world. For reasons of conservation, most of these works are exhibited only rarely, and then only in low light. Now they can be admired all together, without interruption, in this museum between two covers. A delight for the eyes as well as an important work of art history, The Art of the Pastel will be eagerly welcomed by artists, scholars, and art lovers alike.