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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
Winner, 1990 Berkshire Conference Book Award Art Nouveau in Fin-de-Siecle France: Politics, Psychology, and Style explores the shift in the locus of modernity from technological monument to private interior. It examines the political, economic, social, intellectual and artistic factors, specific to late 19th century France, that interacted in the development of art nouveau.
This examination concentrates on the beginnings of Neoclassicism and explores the philosophical and scientific underpinnings of the Enlightenment, in which Pajou played an important part.
Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries. A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliothèque nationale de France in Paris from November 2, 2015, through January 31, 2016.
By combining Daumier's drawings with selected examples of his paintings, prints, and bronzes, this book traces the evolution of the artist's succinct and emphatically expressive style from its roots in the European tradition exemplified by Rembrandt, Rubens, and Fragonard to its modern manifestations in the works of Degas, Cezanne, Toulouse-Lautrec, and Beckmann. In the course of his long and productive career Daumier returned again and again to favorite themes, often after considerable lapses of time. Thus the works here are grouped by their subject matter into six sections: studies of individual figures and faces; narrative scenes inspired by history or literature; views of contemporary urban and domestic life; dramatic portrayals of lawyers in court; depictions of street performers; and episodes in the wanderings of Don Quixote and Sancho Panza.
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.
"Jean-Baptiste Carpeaux (1827-1875) was an extraordinarily gifted sculptor, the greatest in 19th-century France before Rodin, and embodied the emotionally charged artistic climate of his era ... Carpeaux's wrenching representations of human forms, shown in beautiful color details and illustrations, echo his turbulent personal life, fraught with episodes of violence and fatal illness. The book covers the entire span of Carpeaux's career, and includes the masterpiece Ugolino and His Sons, newly discovered drawings, and a number of rarely seen or studied works. Previously unpublished letters between Carpeaux and his family and friends, a wealth of archival material, and the most detailed chronology of the artist's life ever published."--Yale University Press website.