David Hockney est l'un des plus grands dessinateurs de tous les temps, et ses dessins des années 1960 et 1970 comptent parmi ses plus belles oeuvres. Cette sélection de 41 dessins, à la fois connus et inconnus, démontre comment son amour de la vie s'exprime à travers son extraordinaire capacité à observer de près et à traduire en art le monde qui l'entoure. Amis, lieux et objets inanimés sont tous représentés avec perspicacité et énergie.
Explores Édouard Vuillard's early career combining intimate subject matter with abstraction by simplifying pictorial elements and observing decorative fabrics and wallpapers.
During the 1890s and early 1900s Édouard Vuillard (1868-1940) produced a body of work that combines intimate subject matter with abstract form through the simplification of pictorial elements and observation of decorative fabrics and wallpapers. Through these devices he developed an art that is unashamedly decorative and yet always
Before Norman Rockwell put paintbrush to canvas, he had a precise idea of what he wanted to create. A perfectionist and analytical thinker, Rockwell completed numerous preparatory drawings in the process of developing his paintings, much like the Old Masters before him. He worked in several stages, including thumbnail sketches and studies of particular details - culminating in a meticulous tonal drawing that served as a basis for the final painting. But Rockwell's drawing was not only in the service of his painting: he also executed finished illustrations in pencil and charcoal; kept travel sketchbooks; and shared illustrated letters, caricatures, and comics with his family and friends.
Berthe Morisot: Shaping Impressionism is the first major UK exhibition of the renowned Impressionist since 1950. In partnership with the Musee Marmottan Monet, Paris, it will bring together around 30 of Morisot's most important works from international collections, many never seen before in the UK, to reveal the artist as a trailblazer of the movement as well as uncovering a previously untold connection between her work and 18th century culture, with around 20 works for comparison.
A founding member of the Impressionist group, Berthe Morisot (1841-1895) was known for her swiftly painted glimpses of contemporary life and intimate domestic scenes. She featured prominently in the Impressionist exhibitions and defied social norms to become one of the movement's most influential figures. Berthe Morisot: Shaping Impressionism will draw on new research and previously unpublished archival material from the Musee Marmottan Monet to trace the roots of her inspiration, revealing the ways in which Morisot engaged with 18th century art and culture, while also highlighting the originality of her artistic vision, which ultimately set her apart from her predecessors.
Highlights will include Eugene Manet on the Isle of Wight (1875), painted while Morisot was on honeymoon in England, and her striking Self-Portrait (1885), which will appear alongside Jean-Honore Fragonard's Young Woman (c.1769) from Dulwich Picture Gallery's collection. Apollo revealing his divinity to the shepherdess Isse, after Francois Boucher (1892), In the Apple Tree (1890) and Julie Manet with her Greyhound Laerte (1893), are among nine paintings on loan from the Musee Marmottan Monet, many receiving their first ever showing in the UK.
- The first book (and exhibition) ever to present a focused study on Rubens’ depictions of women. The exhibition at Dulwich Picture Gallery will run from October 2023 to January 2024.
- This will challenge the popular assumption that Rubens only painted one type of woman. Instead it will show the varied and essential role that women played in the artist's life and work.
- A chance for readers to get to know the real man behind some of his most famous works - we meet not only Rubens the artist, but Rubens the father, husband, lover, diplomat, friend.
- Includes the latest scholarly developments in subjects such as the identities of Rubens' sitters, 17th century artistic theory and practice, and Rubens' treatment of the human body.
- Featuring beautiful illustrations of artworks from international and private collections, many of which will be appearing in the UK for the first time in 2023.
- Provides a complete catalogue for works in this groundbreaking accompanying exhibition, as well as contextual essays that raise current debates around sexuality, power and feminism.
The art of Peter Paul Rubens (1577-1640) is synonymous with the female nude, with the term 'Rubenesque' first coined in the 19th century to describe a voluptuous female body. Yet remarkably, there has never been a focused study of Rubens' depictions of women, making this book, and the exhibition that it will accompany, a first. Bringing together a diverse range of paintings and drawings from throughout the artist's career and from a range of international lenders, the exhibition at Dulwich Picture Gallery (October 2023 - January 2024) will challenge the popular assumption that Rubens only painted one type of woman. Instead, it will present a more nuanced view of the varied and essential role that women played in the artist's life and work, uniting and contributing to recent scholarly developments in subjects such as the identities of Rubens' sitters, 17th century artistic theory and practice, and Rubens' treatment of the human body. Rubens evidently enjoyed painting the female figure, especially in its sensual and unclothed form. But his women are never mere bodies trapped by the male gaze, on the contrary; they are proud and complex heroines, full of character and gravitas. No other male artist has created such potent images of female power, assurance, determination, commitment, and beauty. Providing a catalogue for the works in the exhibition and featuring three introductory essays that contextualize Rubens' work, this publication will both contribute to the existing corpus of scholarly literature on Rubens and introduce his masterpieces to new audiences, discussing them in the context of current debates around sexuality, power and feminism.
LIBERTÉ! Ary Scheffer and French Romanticism takes you to stirring Paris in the first half of the nineteenth century, a time of political upheaval and cultural flowering.
Artists used their brushes as weapons or climbed the barricades themselves. So did the Dutch Ary Scheffer, who soon became one of Paris' most famous painters. His work still hangs in the Louvre's gallery of honour. Together with French artists such as Eugène Delacroix and Théodore Géricault, he fought for freedom and equality; the ideals of the French Revolution of 1789.
In addition to a number of art-historical essays by experts from the Netherlands and France (including Rijksmuseum, Louvre and Musée de la Romantique), philosopher Maarten Doorman reflects on the meaning of Romanticism today. The publication also includes a catalogue section with an overview of the exhibition. This makes the publication a standard work on the position of Ary Scheffer within French Romanticism.
Monographie du peintre Markus Lüpertz. À l'encontre des courants de l'expressionnisme abstrait et du pop art des années 1960, Markus Lüpertz a inventé son propre style avec une monumentalité puissante et archaïque dans ses peintures dithyrambiques qui l'ont rendu célèbre. S'inspirant de l'Histoire allemande et de la mythologie, il créé aussi des peintures de style plus abstraites. Cet ouvrage célèbre la carrière du prince des peintres à l'occasion d'une exposition à la Phillips Collection et au Hirshorn Museum de Washington.
This catalog, which includes in-depth archival and iconographic research, accompanies a Lucio Fontana (1899-1968) exhibition at the Tornabuoni Gallery in Rome Lucio Fontana (1899-1968), is universally acknowledged as one of the foremost figures in the generation of artists who, in the 1950s and '60s, helped bring about a radical conceptual and linguistic change in contemporary art. The role he played was explored by scholars and critics in the early years of the post-war period, and his work constituted a model for the younger generation of artists in Europe. In the past two decades, Fontana has achieved significant international renown. The essays in this catalog by Enrico Crispolti, Luca Massimo Barbero, Caterina Toschi and Piero Dorazio offer insights into the origins and characteristics of Spatialism, the artistic movement Fontana founded, which synthesized color, sound, space, movement, and time into a new type of art.
Francisco de Goya's last set of etchings were made between 1815 and 1824 and were not published until long after his death
They are some of the most compelling images in Western art and their technical virtuosity is second to none
Goya?s last set of etchings were made between 1815 and 1824, the dark years after the fall of Napoleon, when Goya was living in his farm, The House of the Deaf Man (Quinta del Sorda). Enigmatic and sinister, the etchings were not published until long after his death. They are variously known as The Proverbs, The Dreams, or, most often, Los Disparates, or The Follies. They are some of the most compelling images in Western art and their technical virtuosity is second to none.
Never before available in English, these reminiscences of Caspar David Friedrich by fellow romantic painters and poets give a fascinating picture of the impact of his art on his contemporaries.
Artemisia Gentileschi has been the subject of much attention in recent decades. Research dedicated to her has, however, often returned a stereotyped and reductive image of the artistic universe and personality of the painter. The professional figure of Gentileschi, who was able to move with great success in what we now call the art system, finally finds new dignity. Unpublished attributions from private collections are flanked by the painter's masterpieces, reconstructing the framework of the international commissions that consecrated her as a protagonist of the European Baroque, in the most complete and up-to-date volume dedicated to the artist. The innovative charge of language and the exceptional nature of Artemisia's iconographic choices reveal the documented interests and literary, scientific and musical frequentations that the painter skilfully cultivated in every city that recorded her passage.
A way to reimagine the lost altarpiece painted for the Antonine monks of Chambéry in a way never previously possible
This volume is testimony to all parties involved in ?The Jacquelin de Montluçon Project'
In January 2016, at the annual meeting held by the Trustees of the A. G. Leventis Foundation and the members of the Honorary Committee of the A. G. Leventis Gallery, the Gallery?s Director, Loukia Loizou Hadjigavriel, the Curator of the Paris Collection, Myrto Hatzaki, and the collaborator in Paris, Sylvie Hartmann, presented an ambitious plan designed to bring a lost masterpiece to life. The Jacquelin de Montluçon Project was conceived as a research and exhibition programme that would bridge the gap between academic discovery and the desire to address a broad public. Intended to transform the recent findings of art-historical research into an engaging travelling exhibition, it promised to bring together scholars and museum experts, broaden the understanding of the oeuvre of an outstanding 15th-century artist and illuminator and revisit the panels of the lost altarpiece created for the Antonine monks of Chambéry, currently housed among four European museums. The project set the pace for an extensive journey of research, restoration and planning, under the guidance of Professor Frédéric Elsig of the University of Geneva and with the collaboration of the Musée des Beaux-Arts in Chambéry, the Musée des Beaux-Arts de Lyon, the Victoria and Albert Museum in London and the A. G. Leventis Gallery in Nicosia. As the project progressed, the Centre de recherche et de restauration des musées de France [C2RMF] in Paris also came on board, undertaking the X-raying and digital scanning of the panels, as well as the analysis of colours and pigments used by the artist, adding valuable information about the creative process behind the panels.
Ce catalogue, publié à l'occasion de l'exposition Karel Appel, A Gesture of Color à Washington, présente 24 peintures et sculptures de l'artiste fondateur du mouvement COBRA. A travers l'exploration de ces oeuvres, on retrouve l'intérêt de Karel Appel pour les illustrations pour enfant, l'expérimentation picturale et la réinterprétation de sujets classiques comme le portrait, le nu ou le paysage.
This massive biography accompanies a major new exhibition of the work of Armenian-born painter Arshile Gorky (1904-1948), who is increasingly considered an important influence on the development of abstract expressionism. The book tells his story through many voices: his letters, sent and received; the correspondence of family and friends; pivotal reviews and criticism; newspaper articles and other essential documents. From Gorky s turbulent childhood fleeing the Armenian genocide in Turkey, to his adulthood in the United States, to his suicide in his forties after a traumatic series of physical and emotional setbacks, this biography offers an intimate window into the artist's life.
Though Mondrian is best known for his later, geometric works typifying the De Stijl movement, there is continued scholarly and public interest in the earlier figurative works depicted here The book covers the final decade of Mondrian's engagement with figurative painting, although his interest in nature, colour and space can still be seen in the abstract work for which he is now widely known This publication spotlights the celebrated modern artist Piet Mondrian's early career, a prolific period that saw the artist focus on figurative landscape painting.
Primarily made during the artist's time in Amsterdam at the turn of the twentieth century, Mondrian's dense, small-scale paintings depict the surrounding Dutch landscape - notably irrigation ditches, canals and farm buildings. The compositions are characterised by complex interactions of light and dark planes, which the artist forms through thick, pigmented strokes of green and brown paint.
Marking the last decade of the artist's engagement with figurative painting, Mondrian's exploration of the interrelationships between colour and space during this period forms the basis for his subsequent abstract works, whilst reflecting the artist's lifelong interest in nature.
This publication celebrates an extraordinary collection of drawings and prints by Paul Cezanne that has been gifted and placed on long-term loan to the Whitworth Gallery in Manchester, by gallerist, collector, author and founder of Ridinghouse, Karsten Schubert. This important act of generosity means that the Whitworth now holds the best collection of Cezanne works on paper in the United Kingdom, including a version of every print produced by the artist. These works will significantly expand the research potential of the Whitworth's important collection of late 19th-century French and Dutch drawings by artists including Van Gogh, Seurat, Gauguin and Pissarro - whose portrait of Cezanne is included in this publication. The book also draws together other artistic copies: Raimondi's copy of Raphael's Judgement of Paris and, bringing us to the present day, Michael Landy's Cezanne Bathers.
The publication features a lead essay by renowned Impressionist scholar Richard Thomson on the significance of the bequest, a biographical essay on Karsten Schubert by Richard Shone, an interview with Schubert by Yuval Etgar on the bequest, and an essay by Christopher Lloyd on how these works relate to Cezanne's output as a draughtsman. It also includes a detailed catalogue section on all works in the exhibition, with contributions by Elizabeth Cowling, Rosalind McKever, Colin Wiggins and Edward Wouk.
Larry Poons (b. 1937) shot to fame while still in his twenties, on the strength of his "dot paintings," in which dots or ellipses were meticulously arranged on brightly coloured fields, creating a rhythmic, pulsating effect. But within a few years, Poons first loosened the hard-edged precision of the dot paintings and then abandoned them entirely for an organic mode of abstraction based on vertical drips of flung paint. This marked the beginning of an uncompromising five-decade evolution that has finally led the artist back to a more intimate mode of painting with brushes - and his own hands. At every stage, Poons's career has compelled the attention of critics and, in particular, other artists.
This handsome volume, the first full-length biocritical monograph on Poons, reproduces more than 140 of his most important works in full colour, some as spectacular gatefolds. The incisive text - a collaboration between four leading critics and historians - traces the development of the artist's extraordinary career. Larry Poons is a necessary addition to the library of anyone with an interest in American art.
Cecily Brown (b.1969, London) is one of the most acclaimed painters working today. Her inimitable style shifts effortlessly between abstraction and figuration, confounding our understanding of these painterly modes and conventions. Published on the occasion of an exhibition at Museo e Real Bosco di Capodimonte, Naples, this lavishly illustrated catalogue is an in-depth look at one of her most conceptually rich and expressive paintings. Cecily Brown: The Triumph of Death delves deep into this gigantic, multi-panel work, which features the figure of Death riding roughshod over a town and its residents. Inspired by a 1446 Italian fresco housed in the Palazzo Abatellis in Palermo, Italy, Brown's The Triumph of Death is the culmination of a fascination with death that has permeated her work for several decades. With an introduction by Sylvain Bellenger and newly commissioned texts by Gavin Delahunty, Catherine Foulkrod and Sergio Risaliti, as well as featuring a set of related, previously unseen drawings, the book provides unparalleled analysis of this extraordinary work.
In 1498, with Europe trembling before an Ottoman assault and mortally afraid of what the ominous year 1500 might bring, Albrecht Dürer published his Apocalypse with Pictures, a hallucinatory exploration of the Revelation of St John. Dürer's woodcut technique has never been equalled, and the Apocalypse remains one of the summits of Western art. This edition reproduces all 15 images together with their Bible texts, as well as the frontispiece Dürer added to the second edition.
One of the best loved painters in English history, Thomas Gainsborough (1727-1788) was also one of the most personally engaging. Bon vivant, wit, amateur and enthusiastic musician, he charmed sitters and friends alike. His ebullient, if not always reliable, personality comes to life in these two memoirs, written by two very different friends, Jackson, and the considered appraisal by his rival Sir Joshua Reynolds, bring both man and painter to life.
From Description: William Blake's Illustrations of the Book of Job primarily refers to a series of twenty-two engraved prints (published 1826) by Blake illustrating the biblical Book of Job. It also refers to two earlier sets of watercolours by Blake on the same subject (1806 and 1821). The engraved Illustrations are considered to be Blake's greatest masterpieces in the medium of engraving, and were also a rare commercial and critical success for Blake. Contents[hide] 1 Development and printing history 1.1 Origins 1.2 The watercolours 1.3 The engravings 2 Blake's interpretation 2.1 Use of Symbols 3 Artistic Influences 4 Critical reception and legacy 5 List of Illustrations 6 Footnotes 7 References 8 External links // [edit] Development and printing history Blake's 1793 engraving for The Book of Job. This engraving, although not included in the 1826 Illustrations, most closely resembles the tenth illustration, Job Rebuked by his Friends. [edit] Origins As early as 1785 Blake had sketched several ink studies of an illustration to Job. In 1793 Blake engraved a composition based upon these drawings, which he offered for sale in the Prospectus to the Public for twelve shillings. This, alongside an engraving of Ezekiel, are the only extant examples of an intended series of biblical illustrations that were never completed. Blake reworked the Job plate sometime after 1804, but the resulting print was not included in the Illustrations. Blake's next illustration was the tempera painting Job and his Daughters (1800), commissioned by Thomas Butts (see gallery below). This has similarities to plate 20 of the engraved illustrations, but it is unclear whether the print was directly based upon it."
Artemisia Gentileschi (1593-1656) was a highly accomplished Italian Baroque painter, known for her skill in colouring and her ability to convincingly depict the female figure. In an era when female painters were not easily accepted by the artistic community, she was the first woman to become a member of the Accademia di Arte del Disegno in Florence and had an international clientèle of nobility and royalty. A survivor of , a single mother, and a painter of incredible talent, Artemisia blazed a trail for women artists for centuries to come. Throughout her career, she worked in Florence, Naples, Rome, and even the English court at the invitation of Charles I. Her letters show a strong-willed, industrious artist navigating the troubles of the seventeenth century. Leading Gentileschi scholar Sheila Barker has collected enlightening early biographies of Artemisia and the most relevant of her many letters, creating a fascinating and rounded picture of the life of this influential artist.
Leading expert Marco Tanzi presents this stunning monograph dedicated to the Portrait of a Lady in White Satin
The fascinating and truly exceptional Portrait of a Lady in White Satin, which forms part of The Klesch Collection, offers Marco Tanzi the leading expert on 16th- and 17th-century Cremonese painting an opportunity to delve into some hitherto unknown aspects of the painter?s artistic production. Breaking away from the repetitive monotony of a celebration firmly rooted in an audacious biography that is more or less fictional, but above all anchored to some erroneous attributions that are traced back to Bernardino Campi, her first master.
