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SALTZMAN/OLD MASTERS; NEW WORLD
Drawing is experiencing an unparalleled surge in the art world. Passé notions that once defined drawing as being a preparatory stage for painting or sculpture have long since been cast aside. Drawing is now fully recognized as its own art form—in the biennials, art fairs, museum exhibitions, and beyond. Drawing has come of age. Contemporary artists are increasingly discovering that drawing is something unique and different from painting. It is an intense, sensitive, compelling, personal, and utterly direct art form, one with its own concepts, characteristics, and techniques. In addition, contemporary drawing is not governed by any particular imagery, but rather encompasses a variety of approaches, including realist, abstract, modernist, and post-modernist. Contemporary Drawing delves into the essential and far-reaching concepts of this medium, exploring surface, mark, space, composition, scale, materials, and intentionality in turn. Key techniques, such as using nature to induce marks and working with a checklist to determine a drawing’s problems, are introduced throughout. Plus, an in-depth chapter examines a number of artists, such as William Kentridge and Gego, who are breaking traditional boundaries that separate one artistic discipline from another. Lushly illustrated by a wide range of highly accomplished contemporary artists, Contemporary Drawing offers a broad perspective on this expansive and energized field of art.
This is a fascinating and beautifully written book on what philosophy can tell us about humour and about what it is to be human. It will fascinate and intrigue anyone with a sense of humour.
The selection of drawings demonstrates how Raphael created a specific mode of visual invention and persuasive communication through drawing. He used drawing both as conceptual art (including brainstorming sheets) and as a practice based on attentive observation (such as drawing from the posed model). Yet Raphael's drawings also reveal how the process of drawing in itself, with its gestural rhythms and spontaneity, can be a form of thought, generating new ideas. The Oxford exhibition will present drawings that span Raphael's entire career, encompassing many of his major projects and exploring his visual language from inventive ideas to full compositions. The extraordinary range of drawings by Raphael in the Ashmolean and the Albertina, enhanced by appropriate loans, will enable this exhibition to cast new light on this familiar artist, transforming our understanding of Raphael's art.
The story of Philip Guston's life is, in many ways, a chronicle of the ideas and events that transformed American painting in this century. Having been a muralist in the 1930s, by the 1940s Guston had turned away from public art to explore a more private vision. These haunting tableaux gave way in the 1950s to shimmering abstractions that represent one of the most poetic contributions to Abstract Expressionism. In the last and most important decade of his life, Guston's work changed yet again, as he invented bizarre, cartoonlike characters to enact monstrously comic fantasies. This abrupt shift from abstraction to figuration enraged the art establishment, but it also helped embolden a younger generation of artists to risk a new style of painting that became known as Neo-Expressionism. About the Modern Masters series: With informative, enjoyable texts and over 100 illustrations--approximately 48 in full color--this innovative series offers a fresh look at the most creative and influential artists of the postwar era. The authors are highly respected art historians and critics chosen for their ability to think clearly and write well. Each handsomely designed volume presents a thorough survey of the artist's life and work, as well as statements by the artist, an illustrated chapter on technique, a chronology, lists of exhibitions and public collections, an annotated bibliography, and an index. Every art lover, from the casual museumgoer to the serious student, teacher, critic, or curator, will be eager to collect these Modern Masters. And with such a low price, they can afford to collect them all.
Explains how to make realistic drawings of the arms, legs, feet, hands, and other parts of the human body
Le revers de la jaquette indique : "With the rise of museums in the 19th century, including the formation in 1824 of the National gallery in London, the art of the past became visible and accessible (in Victorian England) as never before. Inspired by the work of Sandro Botticelli, Jan van Eyck, Diego Velazquez, and others, British artists transformed contemporary art through a creative process that emphasized imitation and emulation. Elizabeth Prettejohn analyzes the ways in which the Old Masters were interpreted by artists, as well as critics, curators, and scholars, and argues that Victorian artists were, paradoxically, at their most original when they imitated the Old Masters most faithfully. Covering Victorian art from the Pre-Raphaelites through to the early modernists, she vividly traces the ways in wich artist such as Dante Gabriel Rossetti, Edward Burne-Jones, and William Orpen engaged with the art of the past to produce some of the greatest art of the late nineteenth and early twentieth centuries."