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More than 100 masterworks from the collection, all in full color, each with a text about the artist and drawing as well as full documentation. 105 colour illustrations
"Carracci, Tintoretto, Poussin, Guercino, Gainsborough, Romney, Fragonard, Tiepolo, Blake, Turner, Gericault, Delacroix, Menzel, Whistler, Klimt, Rodin, Derain, Tobey, de Kooning, and Diebenkorn are among the artists represented in the Stanford Museum. Its collection of nearly 1,500 drawings is strongest in the eighteenth and nineteenth centuries, but also includes notable drawings of the Late Renaissance, Baroque, and contemporary periods, many of which have until now remained unpublished." "This volume presents 140 of the drawings with a full-page duotone or color illustration accompanied by an essay consisting of a critical text, as well as a complete physical description, bibliography, provenance, and exhibition history. Additional drawings are presented on a smaller scale and with abbreviated descriptions."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Accompanying an exhibition at the Cleveland Museum of Art last fall and now at the Dahesh Museum in New York, this catalog focuses upon the French drawings in Muriel Butkin's highly specialized collection which she has promised to the Cleveland Museum. To assemble her diverse yet nicely integrated set of drawings, Butkin started buying 18th-century French drawings when they were affordable. In the mid-1970s, with the guidance of art historian Gabriel Weisberg, she expanded her collection to include 19th-century French drawings. These drawings were counter to the mainstream impressionist and postimpressionist taste of the time and focused more on academic French subject matter such as life drawings, portraits, or compositional studies. In the preface, Butkin herself reinforces her taste by saying that drawings are much more personal and spontaneous than paintings, often demonstrating the artistic process. Foster, curator of drawings at the Cleveland Museum, and other scholars present a well-researched volume that contributes new information to a very specialized field of art history. It is greatly disappointing, however, that the bulk of the reproductions are in black and white, often missing the subtly colored tones in many of the drawings. Nonetheless, this is recommended for museum and academic libraries that support graduate programs in art history. 183 b/w illustrations