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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.
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This publication explores Picasso’s portrayals of life with Gilot and their young family in the decade they spent together. Françoise Gilot was a young budding painter when she met Picasso by chance at a café in 1943. The subsequent ten years spent together was a time of transformation in Picasso’s paintings that coincided with revolutionary inventions in lithography, sculpture, and ceramics. Picasso: L’Epoque Françoise presents for the first time several of Gilot’s paintings and drawings from the period alongside Picasso’s when the young painter was maturing while the elder continued to change the face of modern art. The fully illustrated catalogue includes a historic dialogue between Richardson and Gilot celebrating Picasso’s innovation in every medium during the postwar years of renewal.
This exhibition catalog highlights a recent gift of works on paper to the Art Institute of Chicago from the Gecht family, longtime Chicago collectors. The catalog comprises 135 drawings, prints, and sculptures from the collection, all of which embody a broad definition of Modernism. The book spans two centuries and contains artists such as Cezanne and Van Gogh as well as Mark Rothko and Philip Guston. Toulouse-Lautrec, Matisse, and Picasso form the backbone of the collection with nearly 30 works of art apiece. Suzanne Folds McCullagh (curator of prints & drawings, Art Inst. of Chicago) provides a short introductory essay that tracks the evolution of the collection. Authored by a bevy of contributors, the well-written entries maintain a consistent tone and quality and strike a good balance between biographical information and interpretations of the work of art itself. While the Gecht collection is certainly quite a boon for the institute, it is not comprehensive enough in itself to make the catalog essential for all art libraries. It does, however, belong on library shelves with strong modern art and graphics collections.-Kraig A. Binkowski, Delaware Art Museum, Wilmington 135 colour illustrations