1000 drawings of genius 9781783104574, 1783104570, 9781783109494, 1783109491

Table of contents :
Content: Introduction --
13th-14th century --
15th century --
16th century --
17th century --
18th century --
19th century --
20th century --
Chronology --
Legend --
Glossary --
Index of Artists.

Citation preview

1000

Drawings of

Genius

12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ 4C:Layout 1 110/28/2013 A_The Book Drawings_Intro + 13th-14th_ENG_ Dec 2013_Layout 3/12/2014 1:37 3:04 PM Page 2

Authors: Victoria Charles Klaus H. Carl With the collaboration of Rubén Cervantes Garrido Quoted texts by: Leon Battista Alberti, Charles Baudelaire, Vincenzo Carducci, Cennino Cennini, Paul Klee, John Ruskin, Giorgio Vasari, and Claude-Henri Watelet Layout: Baseline Co. Ltd 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam Library of Congress Cataloging-in-Publication Data Charles, Victoria, editor of compilation. 1000 drawings of genius / authors, Victoria Charles and Klaus H. Carl. pages cm Summary: “Long thought of as the neglected stepchild of painting, the art of drawing has recently begun to enjoy a place in the sun. With major museums around the world, from the Met to the Uffizi, mounting exhibitions focused on the art of draughtsmanship, drawing is receiving more critical and academic attention than ever before. This captivating text gives readers a sweeping analysis of the history of drawing, from Renaissance greats like Leonardo da Vinci and Michelangelo, to Modernist masters like M.C. Escher, Pablo Picasso, and everyone in between”-Provided by publisher. Includes index. 1. Drawing. I. Carl, Klaus H., editor of compilation. II. Title. III. Title: One thousand drawings of genius. NC52.C49 741.9--dc23 2014006510 © Confidential Concepts, worldwide, USA © Parkstone Press International, New York, USA Image-Bar www.image-bar.com © Antonin Artaud, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Giacomo Balla Estate, Artists Rights Society (ARS), New York, USA / SIAE, Rome © Balthus (All rights reserved) © Jean-Michel Basquiat Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Max Beckmann Estate, Artists Rights Society (ARS), New York, USA / VG Bild-Kunst, Bonn © Hans Bellmer, Artists Rights Society, New York (ARS), USA / ADAGP, Paris © Pierre Bonnard Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Georges Braque Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Alexander Calder, Calder Foundation New-York / ADAGP, Paris © Marc Chagall Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Giorgio de Chirico Estate, Artists Rights Society (ARS), New York, USA / SIAE, Rome © Francesco Clemente (All rights reserved) © Salvador Dalí, Gala-Salvador Dalí Foundation / Artists Rights Society (ARS), New York / VEGAP, Madrid © André Derain, Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Raoul Dufy Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Jacob Epstein (All rights reserved) © Max Ernst Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Lyonel Feininger Estate, Artists Rights Society (ARS), New York, USA / VG Bild-Kunst, Bonn © Othon Friesz, Artists Rights Society (ARS), New York / ADAGP, Paris © Alberto Giacometti Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Estate of Arshile Gorky, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © George Grosz Estate, Artists Rights Society (ARS), New York, USA / VG Bild-Kunst, Bonn

2

© Raoul Hausmann, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © David Hockney (All rights reserved) © Edward Hopper, Heirs of Josephine N. Hopper, licensed by the Whitney Museum of American Art © Jasper Johns / Licensed by VAGA-DACS, New York, USA / ADAGP, Paris © David Jones, Artists Rights Society (ARS), New York, USA © Frida Kalho, Banco de México Diego Rivera & Frida Kalho Museums Trust. AV. Cinco de Mayo n°2, Col. Centro, Del. Cuauhtémoc 06059, México, D.F. © Vassily Kandinsky Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Ellsworth Kelly (All rights reserved) © Oskar Kokoschka Estate, Artists Rights Society (ARS), New York, USA / Pro Litteris, Zurich © Käthe Kollwitz, Artists Rights Society (ARS), New York, USA / VG Bild-Kunst, Bonn © Wifredo Lam Estate, Artists Rights Society (ARS), New York, USA/ADAGP, Paris © Mikhail Larionov Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Henri Laurens, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Fernand Léger Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Wyndham Lewis (All rights reserved) © René Magritte Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © André Masson Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Henri Matisse, Les Héritiers Matisse, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Joan Miró, Succession Joan Miró, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Edvard Munch Estate, Artists Rights Society (ARS), New York, USA / BONO, Oslo © The Henri Moore Foundation, Artists Right Society (ARS), New York, USA / ADAGP, Paris © Georgia O’Keeffe Museum, Artists Rights Society (ARS), New York, USA © George Passmore (All rights reserved) © Francis Picabia Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Pablo Picasso Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Adrian Piper (All rights reserved) © Jackson Pollock, The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York, USA © Gilbert Proesch (All rights reserved) © Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris © Diego Rivera, Banco de México Diego Rivera & Frida Kalho Museums Trust. AV. Cinco de Mayo n°2, Col. Centro, Del. Cuauhtémoc 06059, México, D.F. © Georges Rouault Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Gino Severini Estate, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Nicolas de Staël, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Antoni Tàpies Estate, Artists Rights Society (ARS), New York, USA / VEGAP, Madrid © Maria Vieira da Silva, Artists Rights Society (ARS), New York, USA / ADAGP, Paris © Louis Vuitton (All rights reserved) © Andy Warhol Estate, Artists Rights Society (ARS), New York, USA All rights reserved. No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers, artists, heirs or estates. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78310-457-4

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/28/2013 12/17/20131:37 11:43 PMAM Page Page 3 3

1000 Drawings of Genius

A_The Book Drawings_Intro + 12th-14th_ENG_ A-OK_23 Oct 2013_ 4C:Layout 1 10/28/2013 1:37 PM Page 4

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/28/2013 3/13/2014 1:37 9:40 PM AM Page 5

Contents Introduction

7

13th Century-14th Century

11

15th Century

21

16th Century

77

17th Century

177

18th Century

247

19th Century

293

20th Century

399

Chronology

526

Legend

536

Glossary

537

Index of Artists

540

5

A_The Book Drawings_Intro + 12th-14th_ENG_ A-OK_23 Oct 2013_ 4C:Layout 1 10/28/2013 1:37 PM Page 6

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/28/2013 3/12/2014 1:37 1:30 PM Page 7

Introduction

T

his book aims to take the reader on a journey through the history of the art of drawing. As the pages advance, one can appreciate the evolution of Western art from the Late Middle Ages to the present day, as each chapter gives a visual account of the different artistic tendencies that coexisted in every century, with a generous selection of the great masters of each period. Every chapter is accompanied by a text written by a contemporary theorist or artist, in order to give the reader a better understanding of each period’s concerns and approaches to art in general, and to drawing in particular. An extract from John Ruskin’s The Elements of Drawing, first published in 1857, has been chosen as the general introduction to this history of Western drawing. The focus, however, has not been placed on his detailed descriptions of how to practise the art of the line with the pen or pencil, or how to apply shade and colour. It may be of more interest to the reader to know the author’s recommendations and warnings for those who desire to become artists. What is interesting about Ruskin is that he acts as a kind of link between the traditional and modern approaches to art. It is very possible that Ruskin may not, today, sound very modern; his sometimes strict recommendations seem to contradict the contemporary notion of absolute creative freedom. But while he retains many values of traditional art, Ruskin was also a champion of modern figures such as Turner and the PreRaphaelites at a time when it was not fashionable to be so, especially of the latter. Of course, these are the recommendations of only one particular art theorist, but Ruskin was a very important one. It is very interesting to know which artists he considers best (and worst) for a young person to admire, as well as the literature he should read. Ruskin’s is a great example because it places the reader in a time when rigid academic values were beginning to be challenged; it is here that one finds the very roots of contemporary art:

“Preface. “It may perhaps be thought, that in prefacing a manual of drawing, I ought to expatiate on the reasons why drawing should be learned; but those reasons appear to me so many and so weighty, that I cannot quickly state or enforce them. With the reader’s permission, as this volume is too large already, I will waive all discussion respecting the importance

of the subject, and touch only on those points which may appear questionable in the method of its treatment. “In the first place, the book is not calculated for the use of children under the age of twelve or fourteen. I do not think it advisable to engage a child in any but the most voluntary practice of art. If it has talent for drawing, it will be continually scrawling on what paper it can get; and should be allowed to scrawl at its own free will, due praise being given for every appearance of care, or truth, in its efforts. It should be allowed to amuse itself with cheap colours almost as soon as it has sense enough to wish for them. If it merely daubs the paper with shapeless stains, the colour-box may be taken away till it knows better: but as soon as it begins painting red coats on soldiers, striped flags on ships, etc., it should have colours at command; and, without restraining its choice of subject [...], it should be gently led by the parents to try to draw, in such childish fashion as may be, the things it can see and likes, birds, or butterflies, or flowers, or fruit. In later years, the indulgence of using the colour should only be granted as a reward, after it has shown care and progress in its drawings with pencil. A limited number of good and amusing prints should always be within a boy’s reach: in these days of cheap illustration he can hardly possess a volume of nursery tales without good woodcuts in it, and should be encouraged to copy what he likes best of this kind, but should be firmly restricted to a few prints and to a few books. If a child has many toys, it will get tired of them and break them; if a boy has many prints, he will merely dawdle and scrawl over them; it is by the limitation of the number of his possessions that his pleasure in them is perfected, and his attention concentrated. [...] “Appendix II. Things to be studied. “The worst danger by far, to which a solitary student is exposed, is that of liking things that he should not. It is not so much his difficulties, as his tastes, which he must set himself to conquer, and although, under the guidance of a master, many works of art may be made instructive, which are only of partial excellence (the good and bad of them being duly distinguished), his safeguard, as long as he studies alone, will be in allowing himself to possess only things, in their way, so free from faults, that nothing he copies in them can seriously mislead him, and to contemplate only those works of art which he knows to be

7

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/28/2013 3/12/2014 1:37 1:30 PM Page 8

either perfect or noble in their errors. I will therefore set down, in clear order, the names of the masters whom you may safely admire, and a few of the books which you may safely possess. In these days of cheap illustration, the danger is always rather of your possessing too much than too little. It may admit of some question, how far the looking at bad art may set off and illustrate the characters of the good; but, on the whole, I believe it is best to live always on quite wholesome food, and that our enjoyment of it will never be made more acute by feeding on ashes; though, it may be well sometimes to taste the ashes, in order to know the bitterness of them. Of course the works of the great masters can only be serviceable to the student after he has made considerable progress himself. It only wastes the time and dulls the feelings of young persons, to drag them through picture galleries; at least, unless they themselves wish to look at particular pictures. Generally, young people only care to enter a picture gallery when there is a chance of getting to run a race to the other end of it; and they had better do that in the garden below. If, however, they have any real enjoyment of pictures, and want to look at this one or that, the principal point is never to disturb them in looking at what interests them, and never to make them look at what does not. Nothing is of the least use to young people (nor, by the way, of much use to old ones), but what interests them. And therefore, though it is of great importance to put nothing but good art into their possession, yet, when they are passing through great houses or galleries, they should be allowed to look precisely at what pleases them: if it is not useful to them as art, it will be in some other way. The healthiest way in which art can interest them is when they look at it, not as art, but because it represents something they like in Nature. If a boy has had his heart filled by the life of some great man, and goes up thirstily to a Van Dyck portrait of him, to see what he was like, that is the wholesomest way in which he can begin the study of portraiture. If he loves mountains, and dwells on a Turner drawing because he sees in it a likeness to a Yorkshire scar or an Alpine pass, that is the wholesomest way in which he can begin the study of landscape; and if a girl’s mind is filled with dreams of angels and saints, and she pauses before an Angelico because she thinks it must surely be like heaven, that is the right way for her to begin the study of religious art. “When, however, the student has made some definite progress, and every picture becomes really a guide to him, false or true, in his own work, it is of great importance that he should never look, with even partial admiration, at bad art; and then, if the reader is willing to trust me in the matter, the following advice will be useful to him. [...] “First, in galleries of pictures: “1. You may look, with trust in their being always right, at Titian, Veronese, Tintoretto, Giorgione, Giovanni Bellini, and Velázquez, the authenticity of the picture being of course established for you by proper authority.

8

“2. You may look with admiration, admitting, however, question of right and wrong, at Van Eyck, Holbein, Perugino, Francia, Angelico, Leonardo da Vinci, Correggio, Van Dyck, Rembrandt, Reynolds, Gainsborough, Turner, and the modern Pre-Raphaelites. You had better look at no other painters than these, for you run a chance, otherwise, of being led far off the road, or into grievous faults, by some of the other great ones, as Michelangelo, Raphael, and Rubens; and of being, besides, corrupted in taste by the base ones, as Murillo, Salvator, Claude, Gaspar Poussin, Teniers, and such others. You may look, however, for examples of evil, with safe universality of reprobation, being sure that everything you see is bad, at Domenichino, the Caracci, Bronzino, and the figure pieces of Salvator. “Among those named for study under question, you cannot look too much at, nor grow too enthusiastically fond of, Angelico, Correggio, Reynolds, Turner, and the PreRaphaelites; but, if you find yourself getting especially fond of any of the others, leave off looking at them, for you must be going wrong some way or other. If, for instance, you begin to like Rembrandt or Leonardo especially, you are losing your feeling for colour; if you like Van Eyck or Perugino especially, you must be getting too fond of rigid detail; and if you like Van Dyck or Gainsborough especially, you must be too much attracted by gentlemanly flimsiness. “Secondly, of published, or otherwise multiplied art, such as you may be able to get yourself, or to see at private houses or in shops, the works of the following masters are the most desirable, after the Turners, Rembrandts, and Durers, which I have asked you to get first: “An edition of Tennyson, lately published, contains woodcuts from drawings by Rossetti and other chief PreRaphaelite masters. They are terribly spoiled in the cutting, and generally the best part, the expression of feature, entirely lost; still they are full of instruction, and cannot be studied too closely. But observe, respecting these woodcuts, that if you have been in the habit of looking at much spurious work, in which sentiment, action, and style are borrowed or artificial, you will assuredly be offended at first by all genuine work, which is intense in feeling. Genuine art, which is merely art, such as Veronese’s or Titian’s, may not offend you, though the chances are that you will not care about it; but genuine works of feeling, such as “Maude“ or “Aurora Leigh“ in poetry, or the grand Pre-Raphaelite designs in painting, are sure to offend you: and if you cease to work hard, and persist in looking at vicious and false art, they will continue to offend you. It will be well, therefore, to have one type of entirely false art, in order to know what to guard against. Flaxman’s outlines to Dante contain, I think, examples of almost every kind of falsehood and feebleness which it is possible for a trained artist, not base in thought, to commit or admit, both in design

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/28/2013 3/12/2014 1:37 1:30 PM Page 9

— INTRODUCTION — and execution. Base or degraded choice of subject, such as you will constantly find in Teniers and others of the Dutch painters, I need not, I hope, warn you against; you will simply turn away from it in disgust, while mere bad or feeble drawing, which makes mistakes in every direction at once, cannot teach you the particular sort of educated fallacy in question. But, in these designs of Flaxman’s, you have gentlemanly feeling, and fair knowledge of anatomy, and firm setting down of lines, all applied in the foolishest and worst possible way; you cannot have a more finished example of learned error, amiable want of meaning, and bad drawing with a steady hand. [...] “Finally, your judgment will be, of course, much affected by your taste in literature. Indeed, I know many persons who have the purest taste in literature, and yet false taste in art, and it is a phenomenon which puzzles me not a little; but I have never known anyone with false taste in books, and true taste in pictures. It is also of the greatest importance to you, not only for art’s sake, but for all kinds of sake, in these days of book deluge, to keep out of the salt swamps of literature, and live on a little rocky island of your own, with a spring and a lake in it, pure and good. I cannot, of course, suggest the choice of your library to you: every several mind needs different books; but there are some books which we all need, and assuredly, if you read Homer, Plato, Aeschylus, Herodotus, Dante, Shakespeare, and Spenser, as much as you ought, you will not require wide enlargement of shelves to right and left of them for purposes of perpetual study. Among modern books, avoid generally magazine and review literature. Sometimes it may contain a useful abridgement or a wholesome piece of criticism; but the chances are ten to one it will either waste your time or mislead you. If you want to understand any subject whatever, read the best book upon it you can hear of: not a review of the book. If you do not like the first book you try, seek another; but do not hope ever to understand the subject without pains, by a reviewer’s help. Avoid especially that class of literature which has a knowing tone [...]. Then, in general, the more you can restrain your serious reading to reflective or lyric poetry, history, and natural history, avoiding fiction and the drama, the healthier your mind will become. Of modern poetry, keep to Scott, Wordsworth, Keats, Crabbe, Tennyson, the two Brownings, Thomas Hood, Lowell, Longfellow, and Coventry Patmore, whose “Angel in the House“ is a most finished piece of writing, and the sweetest analysis we possess of quiet modern domestic feeling; while Mrs. Browning’s “Aurora Leigh” is, as far as I know, the greatest poem which the century has produced in any language. Cast Coleridge at once aside, as sickly and useless; and Shelley, as shallow and verbose; Byron, until your taste is fully formed, and

you are able to discern the magnificence in him from the wrong. Never read bad or common poetry, nor write any poetry yourself; there is, perhaps, rather too much than too little in the world already. “Of reflective prose, read chiefly Bacon, Johnson, and Helps. Carlyle is hardly to be named as a writer for “beginners,” because his teaching, though to some of us vitally necessary, may to others be hurtful. If you understand and like him, read him; if he offends you, you are not yet ready for him, and perhaps may never be so; at all events, give him up, as you would sea-bathing if you found it hurt you, till you are stronger. Of fiction, read Sir Charles Grandison, Scott’s novels, Miss Edgeworth’s, and, if you are a young lady, Madame de Genlis’, the French Miss Edgeworth, making these, I mean, your constant companions. Of course you must, or will, read other books for amusement once or twice; but you will find that these have an element of perpetuity in them, existing in nothing else of their kind; while their peculiar quietness and repose of manner will also be of the greatest value in teaching you to feel the same characters in art. Read little at a time, trying to feel interest in little things, and reading not so much for the sake of the story as to get acquainted with the pleasant people into whose company these writers bring you. A common book will often give you much amusement, but it is only a noble book which will give you dear friends. Remember, also, that it is of less importance to you in your earlier years, that the books you read should be clever, than that they should be right. I do not mean oppressively or repulsively instructive; but that the thoughts they express should be just, and the feelings they excite generous. It is not necessary for you to read the wittiest or the most suggestive books: it is better, in general, to hear what is already known, and may be simply said. Much of the literature of the present day, though good to be read by persons of ripe age, has a tendency to agitate rather than confirm, and leaves its readers too frequently in a helpless or hopeless indignation, the worst possible state into which the mind of youth can be thrown. It may, indeed, become necessary for you, as you advance in life, to set your hand to things that need to be altered in the world, or apply your heart chiefly to what must be pitied in it, or condemned; but, for a young person, the safest temper is one of reverence, and the safest place one of obscurity. Certainly at present, and perhaps through all your life, your teachers are wisest when they make you content in quiet virtue, and that literature and art are best for you which point out, in common life, and in familiar things, the objects for hopeful labour, and for humble love.” John Ruskin, The Elements of Drawing, 1857

9

A_The Book Drawings_Intro + 12th-14th_4C_23 Oct 2013_Layout 1 3/20/2014 3:09 PM Page 10

1

10

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/30/2013 3/13/2014 3:29 9:44 PM AM Page 11

13th Century-14th Century

A

lthough it was written at a time when art was quickly shifting towards a whole new era, Cennino Cennini’s Trattato della pittura (1437) makes for a perfect summary of the artistic techniques of the Late Middle Ages, a kind of cookbook, as was typical of the centuries preceding the Renaissance. Presented here are a few of Cennini’s guidelines regarding drawing, as well as the author’s principles for the practice of art in general, some of which the modern reader will find curious, at the least: “Chapter 8. In what manner you should begin to draw with a stile, and with what light. [...] begin to draw with it from a copy as freely as you can, and so lightly that you can scarcely see what you have begun to do, deepening your strokes as you proceed, and going over them repeatedly, to make the shadows. Where you would make it darkest, go over it many times; and, on the contrary, make but few touches on the lights. And you must be guided by the light of the sun, and your eye, and your hand; and without these three things you can do nothing properly. Contrive always when you draw that the light be softened, and the sun strike on your left hand; and in this manner you should draw a short time every day, that you may not become tired or weary. [...] “Chapter 12. How, when drawing with a lead pencil, an error may be corrected. You may draw on paper also with the abovementioned leaden stile, either with or without bone-dust; and if at any time you make an error, or you wish to remove any marks made by the leaden stile, take a crumb of bread, rub it over the paper, and efface whatever you please. And in the same manner you may shade with ink, or colours, or red tints, with the before-mentioned vehicle. [...] “Chapter 27. Showing how you should endeavour to draw and instruct yourself in design as much as you can. It is now requisite that you should copy from models, in order to attain the highest branches of the science. [...] Having practised drawing a sufficient time on tablets, as I have before directed, always study and delight in drawing the best subjects which offer from the works of the great masters. If there are many good masters in the place where you live, so much the better for you.

But I advise you always to select the best and most celebrated; and if you daily imitate this manner, it is scarcely possible but that you will acquire it; for if you copy today from this master and tomorrow from that, you will not acquire the manner of either; and as the different style of each master unsettles your mind, your own manner will become fantastic. If you will study this manner today and that tomorrow, you must of necessity copy neither perfectly; but if you continually adopt the manner of one master, your intellect must be very dull indeed if you do not find something to nourish it. And it will happen that if nature has bestowed on you any invention, you will acquire a manner of your own, which cannot be other than good, because your hand and your understanding being always accustomed to gather flowers, will always avoid the thorns. “Chapter 28. How you should draw continually from nature, as well as from the masters. Remember that the most perfect guide that you can have and the best direction is to draw from nature: it is the best of all possible examples, and with a bold heart you may always trust to it, especially when you begin to have some knowledge of design. And continuing always and without fail to draw something every day, how little soever it may be, you will certainly attain excellence. “Chapter 29. How you should regulate your manner of living so as to preserve decorum, and keep your hand in proper condition, and what company you should frequent; [...] Your manner of living should be always regulated as if you were studying theology, philosophy, or any other science; that is to say, eating and drinking temperately – at the most twice a day, using light and good food, and but little wine; keeping in good condition, and restraining your hand, preserving it from fatigue, throwing stones or iron bars for instance, and many other things which are injurious to the hand, causing it to shake. There is still another cause, the occurrence of which may render your hand so unsteady that it will oscillate and tremble more than leaves shaken by the wind, and this is, frequenting too much the company of ladies. [...]” Cennino Cennini, Trattato della pittura, 1437

1. Villard de Honnecourt, 1190-1235, French, A Lion and a Porcupine, c. 1225-1240. Graphite enhanced with pen on parchment, 22 x 14 cm. Bibliothèque nationale de France, Paris. High Middle Ages.

11

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/30/2013 3/12/2014 3:29 1:30 PM Page 12

2

3

2. Anonymous, 13th century, English, The Building of Clifford’s Tower (from the Lives of the Offas by Matthew Paris, 1200-1259), c. 1250-1254. Ink on vellum. British Library, London. High Middle Ages.

3. Queen Mary Master, 14th century, English, Noah and the Ark (from the Queen Mary Psalter), c. 1310-1320. Ink on parchment. British Library, London. Late Middle Ages.

4. Queen Mary Master, 14th century, English, Hunting Scene (from the Queen Mary Psalter), c. 1310-1320. Ink on parchment. British Library, London. Late Middle Ages.

5. Anonymous, 14th century, Leo (illustration to Treatise on Astrology by Albumazar, 787-886), c. 1325-1375. Ink on parchment, 27 x 18 cm. British Library, London. Late Middle Ages.

6. Anonymous, 14th century, Taurus (illustration to Treatise on Astrology by Albumazar, 787-886), c. 1325-1375. Ink on parchment, 27 x 18 cm. British Library, London. Late Middle Ages.

12

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/30/2013 12/17/20133:30 11:43 PMAM Page Page 13 13

— 13 CENTURY-14 CENTURY — TH

TH

4

5

6

13

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/30/2013 3/12/2014 3:30 1:29 PM Page 14

7

8

9

AMBROGIO LORENZETTI (Siena, 1285-1348) Ambrogio Lorenzetti, like his brother Pietro, belonged to the Sienese School dominated by the Byzantine tradition. They were the first Sienese to adopt the naturalistic approach of Giotto. There is also evidence that the brothers borrowed tools from each other. They were both major masters of naturalism. With the three-dimensional, Ambrogio foreshadowed the art of the Renaissance. He is well known for the fresco cycle Allegory of the Good and Bad Government, remarkable for its depiction of characters and of Sienese scenes. The frescos on the wall of the Hall of Nine (Sala della Pace) in the Palazzo Pubblico are one of the masterworks of their secular programmes. Ghiberti regarded Ambrogio as the greatest of Sienese 14th-century painters.

7. Jean Pucelle, c. 1300-1334, French, Annunciation to the Shepherds (folio from The Hours of Jeanne d’Évreux), 1324-1328. Grisaille, tempera and ink on vellum, 9.2 x 6.2 cm. The Metropolitan Museum of Art, New York. International Gothic. 8. Jean Pucelle, c. 1300-1334, French, Christ Bearing the Cross (folio from The Hours of Jeanne d’Évreux), 1324-1328. Grisaille, tempera and ink on vellum, 9.2 x 6.2 cm. The Metropolitan Museum of Art, New York. International Gothic. 9. Ambrogio Lorenzetti, 1285-1348, Italian, Annunciation (detail of the angel), c. 1340. Sinopia. Oratorio di San Galgano, San Galgano. International Gothic.

14

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/30/2013 3/12/2014 3:30 1:29 PM Page 15

— 13 CENTURY-14 CENTURY — TH

TH

11

12 10

10. Ambrogio Lorenzetti, 1285-1348, Italian, Annunciation (detail of the Virgin), c. 1340. Sinopia. Oratorio di San Galgano, San Galgano. International Gothic. 11. Buonamico Buffalmacco, active 1315-1336, Italian, The Triumph of Death (detail of a woman with a little dog), c. 1330-1340. Sinopia. Camposanto, Pisa. Trecento. 12. Buonamico Buffalmacco, active 1315-1336, Italian, The Triumph of Death (detail of Saint Macarius the Great), c. 1330-1340. Sinopia. Camposanto, Pisa. Trecento.

15

A_The Book Drawings_Intro + 12th-14th_4C_23 Oct 2013_Layout 1 3/20/2014 3:10 PM Page 16

16

13

14

15

16

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/30/2013 3/12/2014 3:31 1:29 PM Page 17

— 13 CENTURY-14 CENTURY — TH

TH

17

18

13. Andrés Marçal de Sas, active c. 1393-1410, German, St. Catherine of Alexandria, date unknown. Pen and ink on parchment. Galleria degli Uffizi, Florence. Late Gothic.

17. Anonymous, 14th century, Italian, The Visitation, c. 1350. Pen and ink on parchment, 21.2 x 33.3 cm. Galleria degli Uffizi, Florence. International Gothic.

14. Andrés Marçal de Sas, active c. 1393-1410, German, Page of the Alphabet with the Letters R, S, T, U, date unknown. Pen and ink on parchment. Galleria degli Uffizi, Florence. Late Gothic.

18. Jean d’Orleans (attributed to), active c. 1356-1408, French, Parement of Narbonne, c. 1375. Grisaille on silk, 78 x 286 cm. Musée du Louvre, Paris. International Gothic.

15. Andrés Marçal de Sas, active c. 1393-1410, German, Virgin of the Annunciation, date unknown. Pen and ink on parchment. Galleria degli Uffizi, Florence. Late Gothic. 16. Giovanni da Milano, c. 1325-1370, Italian, Crucifixion, 1365. Brush and ink on brown prepared paper, 28.4 x 22 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Late Gothic.

17

A_The Book Drawings_Intro + 13th-14th_ENG_ 12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ Dec 2013_Layout 4C:Layout 1 110/30/2013 12/17/20133:31 11:43 PMAM Page Page 18 18

19 20

21

19. Giovannino de’Grassi, c. 1350-1398, Italian, Two Young Women Playing Music, 1380-1398. Pen, ink and watercolour on parchment, 26 x 19 cm. Civica Biblioteca Angelo Mai, Bergamo. International Gothic.

20. Giovannino de’Grassi, c. 1350-1398, Italian, A Group of Young Men Singing, 1380-1398. Pen and ink on parchment, 26 x 19 cm. Civica Biblioteca Angelo Mai, Bergamo. International Gothic.

21. Giovannino de’Grassi, c. 1350-1398, Italian, A Prehistoric Man, 1380-1398. Pen and ink on parchment, 26 x 19 cm. Civica Biblioteca Angelo Mai, Bergamo. International Gothic.

22. Giovannino de’Grassi, c. 1350-1398, Italian, A Lion Eating a Deer, 1380-1398. Ink, traces of silver shades, white tempera and watercolour on parchment, 26 x 19 cm. Civica Biblioteca Angelo Mai, Bergamo. International Gothic.

18

12th-14th_ENG_ P-OK(P-6)_13 A-OK_23 Oct 2013_ 4C:Layout 1 111/1/2013 1:40 PM AM Page 19 19 A_The Book Drawings_Intro + 13th-14th_ENG_ Dec 2013_Layout 12/17/2013 11:43 Page

— 13 CENTURY-14 CENTURY — TH

TH

22

19

B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 2:59 PM Page 20

23

20

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 3/12/2014 1:39 PM Page 21 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:01 PM Page 21

15th Century

F

lorence of the 15th century saw the birth of the Renaissance. The first theorist of this revolutionary art was Leon Battista Alberti, an architect and humanist who represented the ideal of the ‘universal man’. His De Pictura, published in 1435-1436, laid the foundations for the long line of Renaissance theorists that would follow. Although his treatise gives practical examples of techniques for drawing and painting, as earlier texts had done, Alberti’s ‘recipes’ are aimed at a new kind of sensibility. The man who makes paintings and sculptures is no longer a craftsman, but an artist whose work is intellectual as much as manual. Art and science go together, and its key element is perspective, the ‘visual pyramid’ of which Alberti speaks in this short extract dealing with drawing, that has been selected from his second book on painting: “[Painting] is only worthy of a noble and free spirit, being for me the best sign of its ingenious excellence the dedication to drawing. [...] “The perfection of painting consists of contour, composition, and light and shade [...] “[C]ontour consists of the correct placing of lines, which today is called “drawing”. [...] I feel drawings must be done with very subtle lines, hardly visible for the eye, in the way Apelles did [...] I would like drawing to be limited to giving contour, for which it is necessary to exercise with infinite diligence and care, since no composition or intelligent use of light can be praised if they are missing the drawing. On the contrary, many times it so happens that a good drawing is enough to please the viewer: this is why drawing is the part on which we must insist the most, for the study of which there can be no better method than the veil, of which I am the inventor. You must take a transparent piece of fabric, commonly called a

veil, of any colour. Once we have placed it on a stretcher, we use threads to divide it into many small, equal squares. Afterwards, we place it between us and the object we want to copy, in order for the visual pyramid to penetrate through the transparency of the veil. This veil has many uses: first, it always represents the same immobile surface [...] It is absolutely impossible for things not to change when one is painting, since the painter never looks at the object from exactly the same spot [...] Therefore, the veil has the advantage that it will always represent the object in the same way. Secondly, with the veil all the parts of the drawing, as well as the contours, will be shown with exact precision; because on seeing that the forehead is on one little square, that the nose is on the one below it, the cheek on the one next to it, the beard on the one further down and, in the same way, all the parts in their respective places, it is very easy to transfer them to the panel or the wall, using the same disposition of squares we have used on the veil. [...] I do not share the opinion of those who say: it is not good for painters to get used to the veil or the grid; because it makes things easier and serves to do things well, afterwards they will not be able to do anything by themselves without its help, only with great effort. It is obvious that we do not look into the great or little effort of the painter, but rather praise the painting which has high relief and which looks like the natural bodies it represents. I do not know how this can be achieved by anyone, even halfwell, without the help of the veil. For those who wish to progress in art, take advantage of it; and if someone wants to display their knowledge without it, then they must imagine they have it before them, and work as if it were really there, so that with the help of an imaginary grid they can give exact limits to the painting.” Leon Battista Alberti, De Pictura, 1435-1436

23. Lorenzo Monaco (Piero di Giovanni), c. 1370-1425, Italian, Saint Benedict Sitting in a Throne, date unknown. Pen and ink on parchment, 24.5 x 17.5 cm. Galleria degli Uffizi, Florence. International Gothic.

21

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 3/4/2014 8:55 AM Page 22 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:01 PM Page 22

24

25

26

LORENZO MONACO (Piero di Giovanni)

(Siena?, c. 1370 — Florence, c. 1425) Lorenzo Monaco was one of the last great exponents of Florentine late Gothic painting. Though he is thought to have been born in Siena, he worked in Florence for more than thirty years. His real name was Piero di Giovanni, but he began to be known as Lorenzo Monaco (Lorenzo ‘the monk’) when he entered the Camaldolense monastery of Santa Maria degli Angeli in 1391. He is known for his frescoes in the Bartolini chapel in Santa Trinità (Florence), but he was mainly a painter of altarpieces. He received the influence of Duccio and may have been trained by Agnolo Gaddi and Jacopo de Cione. His graceful figures and gold backgrounds, typical of the Italo-Byzantine Gothic, make him perhaps the last great exponent of this school. His work serves as a sharp contrast to his greatest contemporary, Masaccio, who would signal the way for Renaissance painting. Despite this, Monaco would have an important influence on another Renaissance great, Fra Angelico.

22

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 3/12/2014 1:39 PM Page 23 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:01 PM Page 23

— 15 CENTURY — TH

27

27. Anonymous, 15th century, Italian, The Dominican, Petrus de Croce, Encountering the Devil and Serpents, 1417. Pen and wash on parchment, 24.1 x 13.4 cm. Albright-Knox Art Gallery, Buffalo. Late Gothic.

28

24. Lorenzo Monaco (Piero di Giovanni), c. 1370-1425, Italian, Six Saints Kneeling, date unknown. Pen and ink on parchment, 24.5 x 17.5 cm. Galleria degli Uffizi, Florence. International Gothic. 25. Lorenzo Monaco (Piero di Giovanni), c. 1370-1425, Italian, Decorated Initial with Scene of Christ Entering the Temple, 1408-1411. Pen and ink on parchment, 30.5 x 24.4 cm. The Metropolitan Museum of Art, New York. International Gothic.

28. Anonymous, 15th century, Italian, The Shipwreck of Brother Petrus, His Capture and His Audience before a Muslim Ruler, 1417. Pen and wash on parchment, 30.2 x 13.8 cm. Houghton Library, Harvard University, Cambridge (Massachusetts). Late Gothic.

26. Anonymous, 15th century, Italian, Two Monks Looking up at a Dragon in a Tower, 1400-1450. Pen and brown ink, brush and brown wash on vellum, 18.7 x 13.9 cm. The Metropolitan Museum of Art, New York. Late Gothic.

23

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 24 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:01 PM Page 24

29

30

29. Fra Angelico (Guido di Pietro), c. 1395-1455, Italian, Justice, c. 1427. Pen and ink, brush and brown wash, 19.3 x 17 cm. The Metropolitan Museum of Art, New York. Early Renaissance.

30. Fra Angelico (Guido di Pietro), c. 1395-1455, Italian, King David Playing a Psaltery, c. 1430. Pen and ink, and wash, on vellum, 19.7 x 17.8 cm. British Museum, London. Early Renaissance.

FRA ANGELICO (Guido di Pietro)

(Vicchio di Mugello, c. 1395 - Rome, 1455) Secluded within cloister walls, a painter and a monk, and brother of the order of the Dominicans, Angelico devoted his life to religious paintings. Little is known of his early life except that he was born at Vicchio, in the broad fertile valley of the Mugello, not far from Florence, that his name was Guido de Pietro, and that he passed his youth in Florence, probably in some bottegha, for at twenty he was recognised as a painter. In 1418 he entered a Dominican convent in Fiesole with his brother. They were welcomed by the monks and, after a year’s novitiate, admitted to the brotherhood, Guido taking the name by which he was known for the rest of his life, Fra Giovanni da Fiesole; the title of Angelico, the “Angel,” or Il Beato, “The Blessed,” was conferred on him after his death. Henceforth he became an example of two personalities in one man: he was all in all a painter, but also a devout monk; his subjects were always religious ones and represented in a deeply religious spirit, yet his devotion as a monk was no greater than his absorption as an artist. Consequently, though his life was secluded within the walls of the monastery, he kept in touch with the art movements of his time and continually developed as a painter. His early work shows that he had learned of the illuminators who inherited the Byzantine traditions, and had been affected by the simple religious feeling of Giotto’s work. Also influenced by Lorenzo Monaco and the Sienese School, he painted under the patronage of Cosimo de Medici. Then he began to learn of that brilliant band of sculptors and architects who were enriching Florence with their genius. Ghiberti was executing his pictures in bronze upon the doors of the Baptistery; Donatello, his famous statue of St. George and the dancing children around the organ- gallery in the Cathedral; and Luca della Robbia was at work upon his frieze of children, singing, dancing and playing upon instruments. Moreover, Masaccio had revealed the dignity of form in painting. Through these artists, the beauty of the human form and of its life and movement was being manifested to the Florentines and to the other cities. Angelico caught the enthusiasm and gave increasing reality of life and movement to his figures.

24

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 25 B_The Book Drawings_15th_4C_30 Oct 2013_Layout 1 3/20/2014 3:17 PM Page 25

— 15 CENTURY — TH

32

31

31. Circle of Jan van Eyck (c. 1390-1441), Flemish, Saint Paul, c. 1430. Pen and brown ink, point of the brush and brown ink, with purple and gold heightening, on vellum, 14.6 x 7.9 cm. The Metropolitan Museum of Art, New York. Northern Renaissance. 32. Fra Angelico (Guido di Pietro), c. 1395-1455, Italian, Christ on the Cross, c. 1430. Pen and brown ink, with red and yellow wash on parchment, 29.3 x 19 cm. Albertina, Vienna. Early Renaissance. 33. Stefano da Verona (Stefano di Giovanni), c. 1374-1438, Italian, Three Standing Figures, 1435-1438. Pen and brown ink over traces of charcoal or black chalk, 30 x 22.4 cm. The Metropolitan Museum of Art, New York. Early Renaissance.

33

25

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 26 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 11/1/2013 1:44 PM Page 26

34

35

36

34. Konrad Witz, c. 1400-1445, Swiss, Virgin and Child in an Interior, date unknown. Pen, brown ink and wash, 29.1 x 20 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 35. Stefano da Verona (Stefano di Giovanni), c. 1374-1438, Italian, The Virgin with Christ Child and St. John the Baptist, 1420-1430. Pen and ink on watermarked white paper, 22.4 x 14.3 cm. Galleria degli Uffizi, Florence. Early Renaissance. 36. Pisanello (Antonio Pisano), c. 1395-1455, Italian, Three Monkeys in Different Postures, Sketch and Head of Another Monkey, c. 1430. Silverpoint on paper, 20.6 x 21.7 cm. Musée du Louvre, Paris. Early Renaissance. 37. Jan van Eyck, c. 1390-1441, Flemish, Portrait of Cardinal Niccolo Albergati, c. 1435. Silverpoint on paper, 21.2 x 18 cm. Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, Dresden. Northern Renaissance.

26

Drawings_15th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 B_The Book Drawings_15th_4C_30 Oct 2013_Layout 10/20/2014 13:48 PM Page2:31 27 PM Page 27

— 15 CENTURY — TH

37

JAN VAN EYCK (Near Maastricht, c. 1390 - Bruges, 1441) Little is known of the brothers Hubert and Jan van Eyck, even the dates of their births being uncertain. Jan, as perhaps also Hubert, was for a time in the service of Philip the Good, Duke of Burgundy. He was entered in the household as ‘varlet and painter’, but acted at the same time as a confidential friend, and for his services received an annual salary of two horses for his use, and a ‘varlet in livery’ to attend on him. The greater part of his life was spent in Bruges. Their wonderful use of colour is another reason of the fame of the van Eycks. Artists came from Italy to study their pictures, to discover what they themselves must do in order to paint so well, with such brilliance, such full and firm effect, as these two brothers. For the latter had found out the secret of working successfully with oil colours. Before their time, attempts had been made to mix colours in the medium of oil, but the oil was slow in drying, and the varnish added to remedy this had blackened the colours. The van Eycks, however, had hit upon a transparent varnish which dried quickly and without injury to the tints. Though they guarded the secret jealously, it was discovered by the Italian, Antonello da Messina, who was working in Bruges, and through him published to the world. The invention made possible the enormous development in the art of painting which ensued. In these two brothers the grand art of Flanders was born. Like “the sudden flowering of the aloe, after sleeping through a century of suns,” this art, rooted in the native soil, nurtured by the smaller arts of craftsmanship, reached its full ripeness and expanded into blossom. Such further development as it experienced came from Italian influence, but the distinctly Flemish art, born out of local conditions in Flanders, was already fully-grown.

27

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 28 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:02 PM Page 28

38

38. Pisanello (Antonio Pisano), c. 1395-1455, Italian, Castle and Landscape, 1440-1450. Sinopia. Museo di Palazzo Ducale, Mantua. Early Renaissance. 39

28

39. Circle of Rogier van der Weyden (c. 1399-1464), Flemish, Men Shoveling Chairs, 1444-1450. Pen and brown ink over traces of black chalk, 30 x 42.6 cm. The Metropolitan Museum of Art, New York. Northern Renaissance.

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 29 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:02 PM Page 29

— 15 CENTURY — TH

40

41

40. Paolo Uccello (Paolo di Dono), 1397-1475, Italian, Study for the Monument to John Hawkwood, c. 1436. Metalpoint and white lead on squared paper, 46.1 x 33.3 cm. Galleria degli Uffizi, Florence. Early Renaissance.

41. Andrea Mantegna, 1430/1431-1506, Italian, Faun Attacking a Snake, 1446-1506. Pen and ink on paper, 29 x 17.2 cm. British Museum, London. Early Renaissance.

PAOLO UCCELLO (Paolo di Dono) (Florence, 1397-1475) Paolo di Dono was called ‘Uccello’ because he loved birds and the Italian word for bird is uccello. As well as painting on panel and in fresco, he was also a master of mosaics, especially in Venice, and produced designs for stained glass. We can feel the influence of Donatello especially in a fresco representing the Flood and the Recession, whereas the figure in this work is reminiscent of Masaccio’s frescos of the Brancacci chapel. His perspective studies are very sophisticated, recalling the Renaissance art treatises of Piero della Francesca, Leonardo da Vinci, or Dürer. He was a major proponent of the Renaissance style. However, if his masterwork The Battle of San Romano (1438-1440) has Renaissance elements, Uccello’s gold decorations on the surface of his masterpieces are indebted to the Gothic style.

42. Pisanello (Antonio Pisano), c. 1395-1455, Italian, Tournament, c. 1440-1450. Sinopia. Museo di Palazzo Ducale, Mantua. Early Renaissance.

42

29

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 30 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 4:50 PM Page 30

ANDREA DEL CASTAGNO (Andrea di Bartolo di Bargilla)

(Castagno, before 1419 Florence, 1457) An Italian painter of the Florentine school, Andrea del Castagno was born in Castagno, in the district of Mugello. He followed the naturalism of Masaccio and made use of scientific perspective, gaining wide recognition for his monumental frescoes for the convent of Sant’Apollonia in Florence. These included a Last Supper and three scenes from the Passion of Christ. Another of his principle works (many of them have disappeared) was the equestrian figure of Nicola di Tolentino, in the cathedral of Florence. Castagno added to the Renaissance’s illusionism a strong expressive realism that was influenced by the sculptures of Donatello. He, in turn, would prove influential for succeding generations. For four centuries, Castagno’s name was burdened with the henious charge of murder. It was said that he had treacherously assasinated his colleague, Domenico Veneziano, in order to monopolise the then-recent secret of oil painting as practised in Flanders by the Van Eycks. This charge was, however, proved to be untrue, as Domenico died four years after Andrea.

43. Andrea del Castagno (Andrea di Bartolo di Bargilla), before 1419-1457, Italian, Christ in the Sepulchre with Two Angels, 1447. Sinopia. Sant’Apollonia, Florence. Early Renaissance.

30

43

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 31 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:03 PM Page 31

— 15 CENTURY — TH

31

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 32 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:04 PM Page 32

44

45

46

44. Pisanello (Antonio Pisano), c. 1395-1455, Italian, A Gentleman and a Lady in Court Clothes, c. 1433-1438. Silverpoint and watercolour, 27.2 x 19.3 cm. Musée Condé, Chantilly. Early Renaissance. 45. Benozzo Gozzoli, c. 1420-1497, Italian, St. Laurent with the Virgin and Child and Two Putti, 1450-1460. Pen and brush, 22.8 x 16.2 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance. 46. Andrea del Castagno (Andrea di Bartolo di Bargilla), before 1419-1457, Italian, The Vision of St. Jerome, 1447. Sinopia. Santissima Annunziata, Florence. Early Renaissance. 47. Follower of Rogier van der Weyden (c. 1399-1464), Flemish, Louis, Duke of Savoy, c. 1460-1470. Silverpoint on paper, 20.4 x 12.8 cm. Museum Boijmans Van Beuningen, Rotterdam. Northern Renaissance. 48. Paolo Uccello (Paolo di Dono), 1397-1475, Italian, Study for a Chalice, c. 1450-1470. Pen and brown ink, 24 x 9 cm. Galleria degli Uffizi, Florence. Early Renaissance.

32

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 33 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:04 PM Page 33

— 15 CENTURY — TH

48

47

ROGIER VAN DER WEYDEN (Tournai, c. 1399 - Brussels, 1464)

He lived in Brussels, where he was the city’s official painter (from 1436), but his influence was felt throughout Europe. One sponsor was Philip the Good, an avid collector. Van der Weyden is the only Fleming who truly carried on van Eyck’s great conception of art. He added to it a pathos of which there is no other example in his country except, though with less power and nobility, that of Hugo van der Goes towards the end of the century. He had a considerable influence on the art of Flanders and Germany. Hans Memling was his most renowned pupil. Van der Weyden was the last inheritor of the Giottesque tradition and the last of the painters whose work is thoroughly religious.

49. Rogier van der Weyden, c. 1399-1464, Flemish, Head of the Virgin, date unknown. Silverpoint on white prepared paper, 12.9 x 11.1 cm. Musée du Louvre, Paris. Northern Renaissance.

49

33

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 34 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/31/2013 8:32 AM Page 34

50

51

51. School of Fra Angelico (c. 1395-1455), Italian, Christ Washing the Feet of the Apostles, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.8 x 6 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.

50. School of Fra Angelico (c. 1395-1455), Italian, Christ among the Doctors, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.8 x 6 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.

52

53

52. School of Fra Angelico (c. 1395-1455), Italian, The Last Supper, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.7 x 5.9 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.

34

53. School of Fra Angelico (c. 1395-1455), Italian, Christ in the Garden of Gethsemane, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.5 x 6 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 35 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/31/2013 8:39 AM Page 35

— 15 CENTURY — TH

54

55

55. School of Fra Angelico (c. 1395-1455), Italian, Pilate Washing His Hands, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 8 x 6 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Early Renaissance.

54. School of Fra Angelico (c. 1395-1455), Italian, The Capture of Christ, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.6 x 5.9 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.

56

57

56. School of Fra Angelico (c. 1395-1455), Italian, The Crucifixion, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 8 x 6.3 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Early Renaissance.

57. School of Fra Angelico (c. 1395-1455), Italian, The Lamentation, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 8 x 6.3 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.

35

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 3/12/2014 1:39 PM Page 36 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:04 PM Page 36

59

59. Paolo Uccello (Paolo di Dono), 1397-1475, Italian, Four Sitting Figures, date unknown. Pen, brown watercolour and white lead on blue paper, 25.8 x 23.9 cm. Galleria degli Uffizi, Florence. Early Renaissance.

58

58. Filippo Lippi, 1406-1469, Italian, Seated Monk, c. 1450-1460. Metalpoint, watercolour and white lead on blue paper, 29.6 x 19.6 cm. Galleria degli Uffizi, Florence. Early Renaissance.

FILIPPO LIPPI (Florence, 1406 - Spoleto, 1469) A Carmelite monk, he lived in a monastery in Florence at the same time as Masolino and Masaccio were painting frescos in Florence. He was ordained a priest in Padua in 1434. His works show the aesthetic interest of his time through sophisticated drawing and his ability to obtain transparent effects on opaque colours. After his death, his workshop members completed his unfinished frescos. Botticelli was one of his students, as was his son Filippino Lippi. The works of the two former Fra Lippi students link the Early and High Renaissance periods. Works include major fresco cycles for Santa Maria Novella in Florence and for Santa Maria sopra Minerva in Rome.

36

60. Filippo Lippi, 1406-1469, Italian, Preparatory study for The Virgin and Child with Two Angels, c. 1465. Metalpoint, brown watercolour and white lead, 33 x 26 cm. Galleria degli Uffizi, Florence. Early Renaissance.

61. Filippo Lippi, 1406-1469, Italian, Head of a Woman, c. 1452. Silverpoint, pen, heightening with white lead and touches of red pencil, 30.5 x 20.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.

62. Cosmè Tura, c. 1433-1495, Italian, Allegorical Female Figure, 1460-1465. Brush, grey and black ink, white highlights on blue-grey paper, 24.4 x 13.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 37 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:04 PM Page 37

— 15 CENTURY — TH

60

61

62

37

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 38 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:04 PM Page 38

63

JEAN FOUQUET

(Tours, c. 1425-1478) A painter and illuminator, Jean Fouquet is regarded as the most important French painter of the 15th century. Little is known about his life but it is quite sure that he executed, in Italy, the portrait of Pope Eugenius IV. Upon his return to France, he introduced Italian Renaissance elements into French painting. He was the court painter to Louis XI. Whether he worked on miniatures rendering the finest detail, or on a larger scale in panel paintings, Fouquet’s art had the same monumental character. His figures are modelled in broad planes defined by lines of magnificent purity.

38

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 39 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:05 PM Page 39

— 15 CENTURY — TH

64

65

63. Jean Fouquet, c. 1425-1478, French, Portrait of an Ecclesiastic, c. 1461. Metalpoint, black chalk on white prepared paper, 19.8 x 13.5 cm The Metropolitan Museum of Art, New York. Early Renaissance.

64. Andrea Mantegna, 1430/1431-1506, Italian, St James Being Led to the Execution, 1453-1457. Pen and black chalk on paper, 15.5 x 23.4 cm. British Museum, London. Early Renaissance.

65. Paolo Uccello (Paolo di Dono), 1397-1475, Italian, Angel, c. 1470. Pen and white lead on stained paper, 24 x 26.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.

39

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 40 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/31/2013 9:05 AM Page 40

66 67

68

66. Ercole de’ Roberti, c. 1450-1496, Italian, Warrior, date unknown. Pen, silverpoint, grey and blue wash, white lead on prepared grey paper, 40.3 x 25.4 cm. Galleria degli Uffizi, Florence. Early Renaissance.

67. Andrea Mantegna, 1430/1431-1506, Italian, The Risen Christ with St Andrew and Longinus, c. 1472. Pen and ink and wash on paper, 35 x 28.5 cm. Staatliche Graphische Sammlung, Munich. Early Renaissance.

68. Ercole de’ Roberti, c. 1450-1496, Italian, Study of a Foot After a Model Sculpture, 1470. Pen, brush, brown ink, brown wash and highlights in white on prepared red paper, 13.7 x 8.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

69. Leonardo da Vinci, 1452-1519, Italian, Bust of a Warrior in Profile, c. 1475-1480. Silverpoint on paper, 28.7 x 21.1 cm. British Museum, London. High Renaissance.

40

69

B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:05 PM Page 41

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 42 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:05 PM Page 42

70

70. Gentile Bellini, c. 1429-1507, Italian, Self-Portrait, c. 1480. Silverpoint on paper, 23 x 19.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

71

72

71. Gentile Bellini, c. 1429-1507, Italian, A Turkish Woman, c. 1480. Pen and ink, 21.4 x 17.6 cm. British Museum, London. Early Renaissance. 72. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Saint John the Baptist, c. 1480s. Pen and ink on paper, 36 x 15.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.

42

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 43 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/31/2013 9:13 AM Page 43

— 15 CENTURY — TH

73

74

73. Antonio del Pollaiuolo, c. 1432-1498, Italian, Adam, c. 1475. Black pencil, pen and ink on white paper, 28.3 x 17.9 cm. Galleria degli Uffizi, Florence. Early Renaissance.

74. Antonio del Pollaiuolo, c. 1432-1498, Italian, Eve, c. 1475. Black pencil, pen and ink on white paper, 27.8 x 18.6 cm. Galleria degli Uffizi, Florence. Early Renaissance.

75. Andrea del Verrocchio, 1435-1488, Italian, Head of an Angel, c. 1470. Black pencil, pen and ink on paper, 20.9 x 18.1 cm. Galleria degli Uffizi, Florence. Early Renaissance.

75

43

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 3/13/2014 9:46 AM Page 44 B_The Book Drawings_15th_4C_30 Oct 2013_Layout 1 3/20/2014 3:18 PM Page 44

76

77

78

76. Domenico Ghirlandaio (Domenico Bigordi), 1448/1449-1494, Italian, Head of a Woman, date unknown. Silverpoint and white lead on watermarked white paper, 33.1 x 25.4 cm. Galleria degli Uffizi, Florence. Early Renaissance.

77. Filippino Lippi, c. 1457-1504, Italian, An Apostle and a Young Man, date unknown. Metalpoint, white highlights. Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, Dresden. Early Renaissance.

78. Pedro Berruguete (attributed to), c. 1445-1503, Spanish, Moses at Mount Sinai, date unknown. Pen and ink. Galleria degli Uffizi, Florence. Early Renaissance.

79. After Sandro Botticelli (Alessandro di Mariano Filipepi, 1445-1510), Italian, La Bella Simonetta, date unknown. Silverpoint on paper, 34 x 23 cm. Ashmolean Museum, Oxford. Early Renaissance.

44

Drawings_15th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 B_The Book Drawings_15th_4C_30 Oct 2013_Layout 10/20/2014 13:48 PM Page2:31 45 PM Page 45

— 15 CENTURY — TH

79

45

B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:06 PM Page 46

80

46

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 47 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 11/1/2013 2:23 PM Page 47

— 15 CENTURY — TH

81 82

80. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Illustration for Dante’s Divine Comedy: Inferno, Canto XXXIV, c. 1480-1500. Silverpoint, pen and ink on parchment, 63.5 x 46.8 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

81. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Illustration for Dante’s Divine Comedy: Inferno, Canto XVIII, c. 1480-1500. Silverpoint, pen and ink on parchment, 32.5 x 47.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

82. Hugo van der Goes (attributed to), c. 1420-1482, Flemish, Sitting Saint, c. 1475. Pen and ink on paper. The Courtauld Gallery, London. Northern Renaissance.

83. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Illustration for Dante’s Divine Comedy: Paradiso, Canto XXVIII, c. 1480-1500. Silverpoint, pen and ink on parchment, 32.5 x 47.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

47

B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:07 PM Page 48

B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:07 PM Page 49

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 50 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:07 PM Page 50

84

SANDRO BOTTICELLI (Alessandro di Mariano Filipepi) (Florence, 1445-1510) Sandro Botticelli was the son of a citizen in comfortable circumstances, and had been, in Vasari’s words, “instructed in all such things as children are usually taught before they choose a calling.” However, he refused to give his attention to reading, writing and accounts, continues Vasari, so that his father, despairing of his ever becoming a scholar, apprenticed him to the goldsmith Botticello: whence came the name by which the world remembers him. However, Sandro, a stubborn-featured youth with large, quietly searching eyes and a shock of yellow hair –he has left a portrait of himself on the right-hand side of his picture of the Adoration of the Magi– would also become a painter, and to that end was placed with the Carmelite monk Fra Filippo Lippi. But he was a realist, as the artists of his day had become, satisfied with the joy and skill of painting, and with the study of the beauty and character of the human subject instead of religious themes. Botticelli made rapid progress, loved his master, and later on extended his love to his master’s son, Filippino Lippi, and taught him to paint. But the master’s realism scarcely touched him, for Botticelli was a dreamer and a poet. Botticelli is a painter not of facts, but of ideas, and his pictures are not so much a representation of certain objects as a pattern of forms. Nor is his colouring rich and lifelike; it is subordinated to form, and often rather a tinting than actual colour. In fact, he was interested in the abstract possibilities of his art rather than in the concrete. For example, his compositions, as has just been said, are a pattern of forms; his figures do not actually occupy welldefined places in a well-defined area of space; they do not attract us by their suggestion of bulk, but as shapes of form, suggesting rather a flat pattern of decoration. Accordingly, the lines which enclose the figures are chosen with the primary intention of being decorative. It has been said that Botticelli, “though one of the worst anatomists, was one of the greatest draughtsmen of the Renaissance.” As an example of false anatomy we may notice the impossible way in which the Madonna’s head is attached to the neck, and other instances of faulty articulation and incorrect form of limbs may be found in Botticelli’s pictures. Yet he is recognised as one of the greatest draughtsmen: he gave to ‘line’ not only intrinsic beauty, but also significance. In mathematical language, he resolved the movement of the figure into its factors, its simplest forms of expression, and then combined these various forms into a pattern which, by its rhythmical and harmonious lines, produces an effect upon our imagination, corresponding to the sentiments of grave and tender poetry that filled the artist himself. This power of making every line count in both significance and beauty distinguishes the great master- draughtsmen from the vast majority of artists who used line mainly as a necessary means of representing concrete objects.

50

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 51 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:13 PM Page 51

— 15 CENTURY — TH

85

86

84. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Illustration for Dante’s Divine Comedy: Purgtorio, Canto XXX, c. 1480-1500. Silverpoint, pen and ink on parchment, 32.5 x 47.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

85. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Illustration for Dante’s Divine Comedy: Inferno, Canto XXXI, c. 1480-1500. Silverpoint, pen and ink on parchment, 32.5 x 47.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

86. Filippino Lippi, c. 1457-1504, Italian, Standing Youth with Hands Behind His Back and a Seated Youth Reading, 1457/1458-1504. Metalpoint, highlighted with white gouache, on pink prepared paper, 24.5 x 21.6 cm. The Metropolitan Museum of Art, New York. Early Renaissance.

51

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 52 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:13 PM Page 52

87

87. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Illustration for Dante’s Divine Comedy: Paradiso, Canto VI, c. 1480-1500. Silverpoint, pen and ink on parchment, 32.5 x 47.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

88. Gentile Bellini, c. 1429-1507, Italian, Campo San Lio in Venice, c. 1490-1507. Pen and ink on paper, 44.2 x 59.1 cm. Galleria degli Uffizi, Florence. Early Renaissance. 89. Martin Schongauer, c. 1435-1491, German, Bust of a Man in a Hat Gazing Upward, c. 1480-1490. Pen and carbon black ink, over pen and brown ink, on paper prepared with sanguine wash, 13 x 9.6 cm. The Metropolitan Museum of Art, New York. Northern Renaissance. 90. Filippino Lippi, c. 1457-1504, Italian, Head of an Old Man Leaning, 1480-1483. Silverpoint enhanced with white, on pink paper, 15 x 11.3 cm. Museum der Bildenden Künste, Leipzig. Early Renaissance.

52

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 53 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:13 PM Page 53

— 15 CENTURY — TH

88

89

90

53

B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/31/2013 9:34 AM Page 54

91

92

93

54

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 3/12/2014 1:38 PM Page 55 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 11/1/2013 1:47 PM Page 55

— 15 CENTURY — TH

94

95

96

91. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Abundance or Autumn, c. 1480-1485. Pen, ink, wash and black and red chalk on paper, 31.7 x 25.2 cm. British Museum, London. Early Renaissance. 92. Leonardo da Vinci, 1452-1519, Italian, Study for Head of a Young Girl, c. 1483. Silverpoint on paper, 18.1 x 15.9 cm. Biblioteca Reale, Turin. High Renaissance. 93. Filippino Lippi (attributed to), c. 1457-1504, Italian, Virgin and Child Attended by Angels, 1457/1458-1504. Pen and brown ink, brush and brown wash, highlighted with white gouache, 17.5 x 22.2 cm. The Metropolitan Museum of Art, New York. Early Renaissance. 94. Leonardo da Vinci, 1452-1519, Italian, Grotesque Profile of a Man, c. 1485-1495. Pen and ink on paper, 12.8 x 10.4 cm. Biblioteca Ambrosiana, Milan. High Renaissance. 95. Leonardo da Vinci, 1452-1519, Italian, Head of a Man in Profile, Facing Right, c. 1485-1490. Pen and ink on paper, 7.8 x 5.6 cm. Biblioteca Ambrosiana, Milan. High Renaissance. 96. Leonardo da Vinci, 1452-1519, Italian, Two Grotesque Profiles Confronted, c. 1485-1490. Pen and ink with wash on paper, 16.3 x 14.3 cm. Royal Collection Trust, London. High Renaissance.

55

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 56 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:14 PM Page 56

97 98

99

97. Domenico Ghirlandaio (Domenico Bigordi), 1448/1449-1494, Italian, Young Woman (study for The Birth of St Mary at Santa Maria Novella), c. 1485. Pen on watermarked white paper, 23.2 x 16.1 cm. Galleria degli Uffizi, Florence. Early Renaissance. 98. Albrecht Dürer, 1471-1528, German, Albrecht Dürer the Elder, 1486. Silverpoint on paper, 28.4 x 21.2 cm. Albertina, Vienna. Northern Renaissance. 99. Domenico Ghirlandaio (Domenico Bigordi), 1448/1449-1494, Italian, Two Standing Women, c. 1485. Pen on watermarked white paper, 26 x 16.9 cm. Galleria degli Uffizi, Florence. Early Renaissance. 100. Albrecht Dürer, 1471-1528, German, Self-Portrait as a Thirteen-Year-Old, 1484. Silverpoint on paper, 27.3 x 19.6 cm. Albertina, Vienna. Northern Renaissance. 101. Antonio del Pollaiuolo, c. 1432-1498, Italian, Three Nude Men, 1486. Pen and brown ink, brown wash on paper, 26.5 x 35.7 cm. Musée du Louvre, Paris. Early Renaissance.

56

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 57 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:14 PM Page 57

— 15 CENTURY — TH

100

57

B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/31/2013 9:54 AM Page 58

101

58

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 59 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:14 PM Page 59

— 15 CENTURY — TH

59

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 60 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:14 PM Page 60

102

ANDREA MANTEGNA (Isola di Carturo, 1430/1431 - Mantua, 1506) Mantegna; humanist, geometrist, archaeologist, of great scholastic and imaginative intelligence, dominated the whole of northern Italy by virtue of his imperious personality. Aiming at optical illusion, he mastered perspective. He trained in painting at the Padua School that Donatello and Paolo Uccello had previously attended. Even at a young age, commissions for Andrea’s work flooded in, for example the frescos of the Ovetari Chapel of Padua. In a short space of time, Mantegna found his niche as a modernist due to his highly original ideas and the use of perspective in his works. His marriage with Nicolosia Bellini, the sister of Giovanni, paved the way for his entrée into Venice. Mantegna reached an artistic maturity with his Pala San Zeno. He remained in Mantova and became the artist for one of the most prestigious courts in Italy – the Court of Gonzaga. Classical art was born. Despite his links with Bellini and Leonardo da Vinci, Mantegna refused to adopt their innovative use of colour or leave behind his own technique of engraving.

60

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 61 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:16 PM Page 61

— 15 CENTURY — TH

104

105

103

102. Andrea Mantegna, 1430/1431-1506, Italian, Emperor Trajan in the Battle Against the Dacians, after 1488-1489. Chalk and pen, 27.2 x 19.8 cm. Albertina, Vienna. Early Renaissance.

103. Leonardo da Vinci, 1452-1519, Italian, The Vitruvian Man, c. 1490-1492. Pen and ink on paper, 34.3 x 24.5 cm. Galleria dell’Accademia, Venice. High Renaissance.

104. Leonardo da Vinci, 1452-1519, Italian, Propulsion Flying Machine, 1487-1508. Pen on white paper. Bibliothèque de l’Institut, Paris. High Renaissance.

105. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, An Angel, c. 1490. Chalk, pen and wash heightened with white on paper, 26.6 x 16.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.

61

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 62 B_The Book Drawings_15th_4C_30 Oct 2013_Layout 1 3/20/2014 3:19 PM Page 62

106

106. Perugino (Pietro di Cristoforo Vannucci), c. 1450-1523, Italian, Landscape, 1489-1490. Brush and brown wash, highlighted with white gouache on grey-green prepared paper, 20.4 x 28 cm. The Metropolitan Museum of Art, New York. Early Renaissance.

PERUGINO (Pietro di Cristoforo Vannucci) (Citta della Pieve, c. 1450 - Fontignano, 1523) Perugino’s art, like Fra Angelico’s, had its roots in the old Byzantine tradition of painting. The latter had departed further and further from any representation of the human form, until it became merely a symbol of religious ideas. Perugino, working under the influence of his time, restored body and substance to the figures, but still made them, as of old, primarily the symbols of an ideal. It was not until the 17th century that artists began to paint landscape for its own sake. However, the union of landscape and figures counts very much for Perugino, because one of the secrets of composition is the balancing of what artists call the full and empty spaces. A composition crowded with figures is apt to produce a sensation of stuffiness and fatigue; whereas the combination of a few figures with ample open spaces gives one a sense of exhilaration and repose. It is in the degree to which an artist stimulates our imagination through our physical experiences that he seizes and holds our interest. When Perugino left Perugia to complete his education in Florence he was a fellow pupil of Leonardo da Vinci in the sculptor’s bottegha. If he gained from the master something of the calm of sculpture, he certainly gained nothing of its force. It is as the painter of sentiment that he excelled, though this beautiful quality is confined mainly to his earlier works. For with popularity he became avaricious, turning out repetitions of his favourite themes until they became more and more affected in sentiment.

62

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 63 B_The Book Drawings_15th_4C_30 Oct 2013:Layout 1 3/11/2014 1:57 PM Page 63

— 15 CENTURY — TH

107

107. Benozzo Gozzoli, c. 1420-1497, Italian, Scenes of the Life of Saint Joachim, c. 1490. Sinopia. Cappella della Visitazione, Castelfiorentino (Florence). Early Renaissance.

63

B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:17 PM Page 64

108

64

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 Drawings_15th_4C_30 Oct 2013_Layout 10/20/2014 13:48 PM Page2:31 65 PM Page 65

— 15 CENTURY — TH

110

110. Giovanni Bellini, c. 1430-1516, Italian, Head of a Man with a Turban, c. 1490-1500. Pen, brown wash, white lead and black pencil on paper, 22.6 x 18.7 cm. Galleria degli Uffizi, Florence. Early Renaissance.

GIOVANNI BELLINI (Venice, c. 1430-1516)

109

109. Giovanni Bellini, c. 1430-1516, Italian, Standing Saint, date unknown. Pen, black pencil, brown wash and white lead on paper, 41 x 20 cm. Galleria degli Uffizi, Florence. Early Renaissance.

108. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Pallas Athena, c. 1490-1500. Pen and ink on paper, 18.9 x 8.7 cm. Biblioteca Ambrosiana, Milan. Early Renaissance.

Giovanni Bellini was the son of Jacopo Bellini, a Venetian painter who was settled in Padua when Giovanni and his elder brother, Gentile, were in their period of studentship. Here, they came under the influence of Mantegna, who was also bound to them by ties of relationship, since he married their sister. To his brother-in-law, Bellini owed much of his knowledge of classical architecture and perspective, and his broad and sculptural treatment of draperies. Sculpture and the love of the antique played a large part in Giovanni’s early impressions, and left their mark in the stately dignity of his later style. This developed slowly during his long life. Bellini died of old age, indeed in his eighty-eighth year, and was buried near his brother, Gentile, in the Church of Ss. Giovanni e Paulo. Outside, under the spacious vault of heaven, stands the Bartolommeo Colleoni, Verrocchio’s monumental statue, which had been among the elevating influences of Bellini’s life and art. After filling the whole of the north of Italy with his influence, he prepared the way for the giant colourists of the Venetian School, Giorgione, Titian, and Veronese.

65

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 66 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:17 PM Page 66

111

112

111. Francesco di Giorgio Martini, 1439-1501, Italian, A Fortified City, date unknown. Pen and ink on paper. Chigi Saracini collection, Siena. Early Renaissance.

112. Francesco di Giorgio Martini, 1439-1501, Italian, A Fortified City, date unknown. Pen and ink on paper. Chigi Saracini collection, Siena. Early Renaissance. 113

113. Leonardo da Vinci, 1452-1519, Italian, Profile of a Child, c. 1495-1500. Red chalk on paper, 10 x 10 cm. Royal Collection Trust, London. High Renaissance.

66

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 67 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:17 PM Page 67

— 15 CENTURY — TH

114

114. Francesco di Giorgio Martini, 1439-1501, Italian, Design for a Wall Monument, c. 1490. Pen and brown ink, brush and brown wash, blue gouache on vellum, 18.4 x 18.4 cm. The Metropolitan Museum of Art, New York. Early Renaissance.

67

B_The Book Drawings_15th_4C_30 Oct 2013_Layout 1 3/20/2014 3:19 PM Page 68

115

68

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 3/12/2014 1:38 PM Page 69 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:18 PM Page 69

— 15 CENTURY — TH

117 118

116

115. Jean Perréal, c. 1455-1530, French, Portrait of Philippe de la Platière (1465-1499), 1495. Silverpoint on paper. Musée Condé, Chantilly. Early Renaissance. 116. Andrea Mantegna, 1430/1431-1506, Italian, Hercules and Antaeus, c. 1490-1500. Pen and ink on paper, 24.6 x 18.4 cm. Galleria degli Uffizi, Florence. Early Renaissance. 117. Andrea Mantegna, 1430/1431-1506, Italian, Judith, 1491. Pen, ink, brown wash and white lead on paper, 39 x 25.8 cm. Galleria degli Uffizi, Florence. Early Renaissance. 118. Andrea Mantegna, 1430/1431-1506, Italian, Copy of a Figure from “The Death of the Virgin”, c. 1492. Metalpoint, pen and ink, brown and grey watercolour and white lead on paper, 32.3 x 10.4 cm. Galleria degli Uffizi, Florence. Early Renaissance.

69

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 70 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:19 PM Page 70

119

120

121

119. Leonardo da Vinci, 1452-1519, Italian, Caricature of a Man with Bushy Hair (detail), c. 1495. Pen and brown ink, 6.6 x 5.4 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.

120. Leonardo da Vinci, 1452-1519, Italian, A Man Tricked by Gypsies, c. 1493. Pen and ink on paper, 26 x 20.6 cm. Royal Collection Trust, London. High Renaissance.

121. Leonardo da Vinci, 1452-1519, Italian, Study of an Apostle, 1493-1495. Silverpoint, pen and brown ink on blue prepared paper, 14.6 x 11.3 cm. Albertina, Vienna. High Renaissance.

70

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 71 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:19 PM Page 71

— 15 CENTURY — TH

122

122. Albrecht Dürer, 1471-1528, German, Study of Christ Child, 1495. Pen and black ink on paper, 17.2 x 21.5 cm. Musée du Louvre, Paris. Northern Renaissance.

71

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 72 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:19 PM Page 72

123

VITTORE CARPACCIO (Venice, 1460/1466?-1525/1526) Carpaccio was a Venetian painter strongly influenced by Gentile Bellini. The distinguishing characteristics of his work are his taste for fantasy and anecdote and his eye for minutely observed crowd details. After completing the cycles of scenes from the lives of St Ursula, St George and St Jerome, his career declined and he remained forgotten until the 19th century. He is now seen as one of the outstanding Venetian painters of his generation.

72

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 73 B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/30/2013 3:20 PM Page 73

— 15 CENTURY — TH

124

125

123. Vittore Carpaccio, 1460/1466?-1525/1526, Italian, Study for The Dream of Saint Ursula, c. 1495. Pen, ink and highlights on paper, 10.2 x 11 cm. Galleria degli Uffizi, Florence. High Renaissance.

124. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Nativity, c. 1495. Black pencil, pen and ink, white lead, brown wash on paper, 16 x 25.7 cm. Galleria degli Uffizi, Florence. Early Renaissance.

125. Leonardo da Vinci, 1452-1519, Italian, The Virgin and Child with Saint Anne and the Infant Saint John the Baptist, c. 1499-1500. Charcoal heightened with white on paper on canvas, 141.5 x 104.6 cm. National Gallery, London. High Renaissance.

126. Perugino (Pietro di Cristoforo Vannucci), c. 1450-1523, Italian, Christ Rescuing St. Bernard from the Cross, 1493-1496. Sinopia. Santa Maria Maddalena dei Pazzi, Florence. Early Renaissance.

127. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445-1510, Italian, Saint Jerome, c. 1495. Silverpoint, white lead and black pencil on paper, 24.6 x 12.7 cm. Galleria degli Uffizi, Florence. Early Renaissance.

73

B_The Book Drawings_15th_ENG_A-OK_30 Oct 2013 4C:Layout 1 10/31/2013 10:03 AM Page 74

126

74

B_The Book Drawings_15th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/16/2013 2:31 PM Page 75 B_The Book Drawings_15th_4C_30 Oct 2013_Layout 1 3/20/2014 3:20 PM Page 75

— 15 CENTURY — TH

127

75

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/7/2013 11:50 AM Page 76

128

76

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 3/12/2014 2:42 1:46PM PM Page Page77 77

16th Century

I

f Alberti was the first theorist of Renaissance art, Giorgio Vasari was its first historian. His Le vite de’ più eccellenti pittori, scultori e architettori (Lives of the Most Excellent Painters, Sculptors, and Architects) is considered by many to be the first important book of Art History. His treatise brings together the biographies of major Italian artists from Cimabue to the mid-16th century. In the introduction, Vasari verses on the techniques of the arts, among which drawing is granted a central role. Harsh debates aroused in Vasari’s time and during the following centuries between the defenders of drawing and colour, who argued over which of the two played a more important part in painting. In the text which has been selected, Vasari argues that drawing is not only fundamental for painting, but also for the other arts:

“The Nature and Materials of Design or Drawing. “Seeing that Design, the parent of our three arts, Architecture, Sculpture, and Painting, having its origin in the intellect, draws out from many single things a general judgment, [...] we may conclude that design is not other than a visible expression and declaration of our inner conception and of that which others have imagined and given form to in their idea. And from this, perhaps, arose the proverb among the ancients ‘ex ungue leonem‘ when a certain clever person, seeing carved in a stone block the claw only of a lion, apprehended in his mind from its size and form all the parts of the animal and then the whole together, just as if he had had it present before his eyes. [...] “But let this be as it may, what design needs, when it has derived from the judgment the mental image of anything, is that the hand, through the study and practice of many years, may be free and apt to draw and to express correctly, with the pen, the silverpoint, the charcoal, the chalk, or other instrument, whatever nature has created. For when the intellect puts forth refined and judicious conceptions, the hand which has practised design for many years, exhibits the perfection and excellence of the arts as well as the knowledge of the artist. [...] “The masters who practise these arts have named or distinguished the various kinds of design according to the description of the drawing which they make. Those which are

touched lightly and just indicated with the pen or other instrument are called sketches, as shall be explained in another place. Those, again, that have the first lines encircling an object are called profiles or outlines.

“Use of Design (or Drawing) in the Various Arts. “All these, whether we call them profiles or otherwise, are as useful to architecture and sculpture as to painting. Their chief use indeed is in Architecture, because its designs are composed only of lines, which so far as the architect is concerned, are nothing else than the beginning and the end of his art, for all the rest, which is carried out with the aid of models of wood formed from the said lines, is merely the work of carvers and masons. “In Sculpture, drawing is of service in the case of all the profiles, because in going round from view to view the sculptor uses it when he wishes to delineate the forms which please him best, or which he intends to bring out in every dimension, whether in wax, or clay, or marble, or wood, or other material. “In Painting, the lines are of service in many ways, but especially in outlining every figure, because when they are well drawn, and made correct and in proportion, the shadows and lights that are then added give the strongest relief to the lines of the figure and the result is all excellence and perfection. [...] When he has trained his hand by steady practice in drawing (figures in relief, plaster casts), let him begin to copy from nature and make a good and certain practice herein, with all possible labour and diligence, for the things studied from nature are really those which do honour to him who strives to master them, since they have in themselves [...] that simple and easy sweetness which is nature’s own, and which can only be learned perfectly from her, and never to a sufficient degree from the things of art. Hold it moreover for certain, that the practice that is acquired by many years of study in drawing, as has been said above, is the true light of design and that which makes men really proficient.” Giorgio Vasari, Introduction to Le vite de’ più eccellenti pittori, scultori e architettori, 1550

128. Luca Signorelli, c. 1440-1523, Italian, Head of a Woman, date unknown. Pencil on paper. Galleria degli Uffizi, Florence. Early Renaissance.

77

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:42 3:37 PM PMPage Page 7878

129 130

131

HIERONYMUS BOSCH (Hertogenbosch, c. 1450-1516) Born in the middle of the century, Bosch experienced the drama of the highly-charged Renaissance and its wars of religion. Medieval traditions and values were crumbling, paving the way to thrust humankind into a new universe where faith lost some of its power and much of its magic. His favourite allegories were hell, heaven and lust. He believed that everyone had to choose between one of two options: heaven or hell. Bosch brilliantly exploited the symbolism of a wide range of fruit and plants to lend sexual overtones to his themes.

78

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:42 3:37 PM PMPage Page 7979

— 16 CENTURY — TH

133

132

129. Hieronymus Bosch, c. 1450-1516, Flemish, Studies of Monsters, date unknown. Pen and ink on paper, 31.8 x 21 cm. Ashmolean Museum, Oxford. Northern Renaissance. 130. Hieronymus Bosch, c. 1450-1516, Flemish, Two Witches, date unknown. Pen and ink on paper, 12.5 x 8.5 cm. Museum Boijmans Van Beuningen, Rotterdam. Northern Renaissance. 131. Perugino (Pietro di Cristoforo Vannucci), c. 1450-1523, Italian, Study of a Kneeling Youth and of the Head of Another, 1500. Metalpoint on pale pink-beige prepared paper, 22 x 11.5 cm. The Metropolitan Museum of Art, New York. Early Renaissance. 132. Luca Signorelli, c. 1440-1523, Italian, Nude Man Seen from Behind Carrying a Corpse on His Shoulders, c. 1500. Black chalk, brown wash, and watercolour on paper, 35.5 x 22.5 cm. Musée du Louvre, Paris. Early Renaissance. 133. Luca Signorelli, c. 1440-1523, Italian, The Damned, c. 1500. Black pencil on paper, 28.5 x 22 cm. Galleria degli Uffizi, Florence. Early Renaissance.

LUCA SIGNORELLI (Cortona, c. 1440—1523) Signorelli was a painter from Cortona but was active in various cities of central Italy like Florence, Orvieto and Rome. Probably a pupil of Piero della Francesca, he added solidity to his figures and a unique use of light, as well as having an interest in the representation of actions like contemporary artists, the Pollaiuolo brothers. In 1483, he was called to complete the cycle of frescos in the Sistine Chapel in Rome, which means he must have had a solid reputation at that time. He painted a magnificent series of six frescos illustrating the end of the world and The Last Judgment for the Orvieto Cathedral. There can be seen a wide variety of nudes displayed in multiple poses, which were surpassed at that time only by Michelangelo, who knew of them. By the end of his career, he had a large workshop in Cortona where he produced conservative paintings, including numerous altarpieces.

79

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 3/12/2014 4:37 1:46PM PM Page Page80 80

134

135

136

134. Lo Spagna (Giovanni di Pietro), c. 1450-1528, Italian, Standing Saint, date unknown. Pen and ink on paper, 36.5 x 22 cm. Musée Condé, Chantilly. Early Renaissance. 135. Luca Signorelli, c. 1440-1523, Italian, Head of a Man with a Cap (Dante?), date unknown. Charcoal on paper, 23.7 x 15.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance. 136. Perugino (Pietro di Cristoforo Vannucci), c. 1450-1523, Italian, Bacchus or Ephebos, date unknown. Black pencil, pen and white lead on watermarked white paper. Galleria degli Uffizi, Florence. Early Renaissance.

80

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:44 3:37 PM PMPage Page 8181

— 16 CENTURY — TH

137

137. Fra Bartolomeo (Bartolommeo della Porta), c. 1472-1517, Italian, Flying Angel, date unknown. Black pencil, stump and white chalk on watermarked paper, 19.2 x 16.5 cm. Galleria degli Uffizi, Florence. High Renaissance.

138. Vittore Carpaccio, 1460/1466?-1525/1526, Italian, Sacra Conversazione, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.

81

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 2:44 PM Page 82

138

82

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:44 3:37 PM PMPage Page 8383

— 16 CENTURY — TH

83

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 2:44 PM Page 84

139

84

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:44 3:37 PM PMPage Page 8585

— 16 CENTURY — TH

140 141

139. Hieronymus Bosch, c. 1450-1516, Flemish, Two Fantastic Creatures, date unknown. Pen and brown ink on paper, 16.3 x 11.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

140. Fra Bartolomeo (Bartolommeo della Porta), c. 1472-1517, Italian, View of the Santissima Annunziata, c. 1500-1510. Pen on white paper, 21 x 28.3 cm. Galleria degli Uffizi, Florence. High Renaissance.

141 Hieronymus Bosch, c. 1450-1516, Flemish, The Field Has Eyes, the Forest Has Ears, c. 1500. Pen and brown ink on paper, 20.2 x 12.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

85

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:44 3:37 PM PMPage Page 8686

142

143

144

142. Leonardo da Vinci, 1452-1519, Italian, Bust of a Young Woman, c. 1501. Red chalk and silverpoint on paper. Galleria dell’Accademia, Venice. High Renaissance.

143. Leonardo da Vinci, 1452-1519, Italian, Grotesque Head, c. 1503-1507. Black chalk on paper, 39 x 28 cm. Christ Church Picture Gallery, Oxford. High Renaissance.

144. Leonardo da Vinci, 1452-1519, Italian, Study of two warriors’ heads for The Battle of Anghiari, c. 1504-1505. Charcoal on paper, 19.1 x 18.8 cm. Szépmu” vészeti Múzeum, Budapest. High Renaissance.

145. Raphael (Raffaello Sanzio), 1483-1520, Italian, Head of a Boy with a Cap, c. 1502-1503. Black chalk with highlights in white on paper, 21.2 x 18.6 cm. Palais des Beaux-Arts, Lille. High Renaissance.

86

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:44 3:37 PM PMPage Page 8787

— 16 CENTURY — TH

145

RAPHAEL (Raffaello Sanzio) (Urbino, 1483 - Rome, 1520) Raphael was the artist who most closely resembled Pheidias. The Greeks said that the latter invented nothing; rather, he carried every kind of art invented by his forerunners to such a pitch of perfection that he achieved pure and perfect harmony. Those words, “pure and perfect harmony,” express, in fact, better than any others, what Raphael brought to Italian art. From Perugino, he gathered all the weak grace and gentility of the Umbrian School, he acquired strength and certainty in Florence, and he created a style based on the fusion of Leonardo’s and Michelangelo’s lessons under the light of his own noble spirit. His compositions on the traditional theme of the Virgin and Child seemed intensely novel to his contemporaries, and only their timehonoured glory prevents us now from perceiving their originality. He has an even more magnificent claim in the composition and realisation of those frescos with which, from 1509, he adorned the Stanze and the Loggia at the Vatican. The sublime, which Michelangelo attained by his ardour and passion, Raphael attained by the sovereign balance of intelligence and sensibility. One of his masterpieces, The School of Athens, was created by genius: the multiple detail, the portrait heads, the suppleness of gesture, the ease of composition, and the life circulating everywhere within the light are his most admirable and identifiable traits.

87

C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 10/20/2014 3:54 PM Page 88

88

146

147

148

149

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/7/2013 12/16/20138:30 3:37 AM PMPage Page 8989

— 16 CENTURY — TH

150

151

152

146. Albrecht Dürer, 1471-1528, German, Creszentia Pirckheimer, 1503. Charcoal, white highlights, 32 x 21.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 147. Albrecht Dürer, 1471-1528, German, Willibald Pirckheimer, 1503. Charcoal, 28.2 x 20.8 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 148. Leonardo da Vinci, 1452-1519, Italian, Leda and the Swan, c. 1503-1504. Pen, ink and wash over black chalk on paper, 16 x 13.9 cm. Devonshire Collection, Chatsworth. High Renaissance. 149. Albrecht Dürer, 1471-1528, German, Study of Pope’s Head, c. 1506. Paintbrush, white highlights on paper, 19.7 x 19.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 150. Michelangelo Buonarroti, 1475-1564, Italian, Male Nude, Seen from the Rear, c. 1503-1504. Black pencil on paper, 28.2 x 20.3 cm. Musée du Louvre, Paris. High Renaissance. 151. Raphael (Raffaello Sanzio), 1483-1520, Italian, Portrait of the Doge Leonardo Loredan, c. 1504-1505. Metalpoint, 12.1 x 10.4 cm. Palais des Beaux-Arts, Lille. High Renaissance. 152. Albrecht Dürer, 1471-1528, German, Adam and Eve, 1504. Pen and watercolour, 24.2 x 20.1 cm. The Morgan Library and Museum, New York. Northern Renaissance.

89

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:45 3:37 PM PMPage Page 9090

153

154

155

153. Hieronymus Bosch, c. 1450-1516, Flemish, The Tree Man, c. 1505. Pen in brown ink, 27.7 x 21.1 cm. Albertina, Vienna. Northern Renaissance.

154. Hans Baldung Grien, 1484/1485-1545, German, Phyllis Sitting on the Back of Crawling Aristotle, 1503. Pen and black ink, 28.1 x 20.1 cm. Musée du Louvre, Paris. Northern Renaissance.

155. Leonardo da Vinci, 1452-1519, Italian, Studies for the Christ Child with a Lamb, c. 1503-1506. Pen and brown ink and black chalk, 21 x 14.2 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.

156. Albrecht Altdorfer, c. 1480-1538, German, Samson and Delilah, 1506. Pen and black ink with white heightening on brown prepared paper, 17.1 x 12.2 cm. The Metropolitan Museum of Art, New York. Northern Renaissance.

90

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:46 3:37 PM PMPage Page 9191

— 16 CENTURY — TH

156

91

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 2:46 PM Page 92

157

158

159

92

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:46 3:37 PM PMPage Page 9393

— 16 CENTURY — TH

160

161

162

157. Raphael (Raffaello Sanzio), 1483-1520, Italian, Portrait of a Woman, c. 1505-1507. Pen, brown ink and black chalk on paper, 22.2 x 15.9 cm. Musée du Louvre, Paris. High Renaissance. 158. Hans Baldung Grien, 1484/1485-1545, German, Saint Catherine Leaning on a Sword, c. 1503-1504. Pen and brown ink, 27.4 x 13.3 cm. The Metropolitan Museum of Art, New York. Northern Renaissance. 159. Raphael (Raffaello Sanzio), 1483-1520, Italian, Study for The School of Athens, c. 1509. Pen and ink on white paper. Galleria degli Uffizi, Florence. High Renaissance. 160. Albrecht Dürer, 1471-1528, German, Head Study of an African, 1508. Charcoal, 32.0 x 21.8 cm. Albertina, Vienna. Northern Renaissance. 161. Lucas Cranach the Elder, 1472-1553, German, Head of a Young Boy, c. 1509. Brown and black ink, grey and ochre washes and gouache, 21.6 x 17.1 cm. Musée du Louvre, Paris. Northern Renaissance. 162. Raphael (Raffaello Sanzio), 1483-1520, Italian, Holy Family with St John the Baptist, Zacharias, and Elizabeth in a Landscape, 1507-1508. Pen and ink on paper, 35.3 x 23.4 cm. Palais des Beaux-Arts, Lille. High Renaissance.

93

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:46 3:37 PM PMPage Page 9494

163

163. Michelangelo Buonarroti, 1475-1564, Italian, Study for the Head of an Old Man, c. 1509. Black chalk, 43.2 x 28 cm. Galleria degli Uffizi, Florence. High Renaissance.

164. Raphael (Raffaello Sanzio), 1483-1520, Italian, Leda and the Swan, c. 1507. Pen and ink over black chalk on paper, 31 x 19.2 cm. Royal Collection Trust, London. High Renaissance.

MICHELANGELO BUONARROTI (Caprese, 1475 - Rome, 1564) Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo’s painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor’s imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment, on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

94

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:46 3:37 PM PMPage Page 9595

— 16 CENTURY — TH

164

95

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:46 3:37 PM PMPage Page 9696

165. Titian (Tiziano Vecellio, attributed to), 1489/1490-1576, Italian, Saint Jerome in the Desert, 1509. Pen and grey ink, 13.6 x 16.7 cm. Galleria degli Uffizi, Florence. High Renaissance.

96

165

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:46 3:37 PM PMPage Page 9797

— 16 CENTURY — TH

97

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/7/2013 12/16/20139:13 3:37 AM PMPage Page 9898

167

166

LUCAS CRANACH THE ELDER (Kronach, 1472 - Weimar, 1553) Lucas Cranach was one of the greatest artists of the Renaissance, as shown by the diversity of his artistic interests as well as his awareness of the social and political events of his time. He developed a number of painting techniques which were afterwards used by several generations of artists. His somewhat mannered style and splendid palette are easily recognised in numerous portraits of monarchs, cardinals, courtiers and their ladies, religious reformers, humanists and philosophers. He also painted altarpieces, mythological scenes and allegories, and he is well-known for his hunting scenes. As a gifted draughtsman, he executed numerous engravings on both religious and secular subjects, and as court painter, he was involved in tournaments and masked balls. As a result, he completed a great number of costume designs, armorials, furniture, and parade ground arms. The high point of the German Renaissance is reflected in his achievements. 168

98

Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout AM 9999 C_The Book Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout11 11/7/2013 12/16/20139:02 3:37 PMPage Page

— 16 CENTURY — TH

170 171

169

166. Lucas Cranach the Elder, 1472-1553, German, Christ and the Adultress, 1509. Brown ink and brown wash, 29.9 x 19.6 cm. Herzog Anton Ulrich-Museum, Kunstmuseum des Landes Niedersachsen, Brunswick (Lower Saxony). Northern Renaissance. 167. Antonio da Sangallo the Younger, 1484-1546, Italian, The Mausoleum of Theoderic, c. 1506. Pen and ink on paper. Galleria degli Uffizi, Florence. High Renaissance. 168. Fra Bartolomeo (Bartolommeo della Porta), 1473-1517, Italian, Madonna and Child with Saints, 1510-1513. Black chalk, with traces of white chalk, 37.5 x 28.3 cm. J. Paul Getty Museum, Los Angeles. High Renaissance. 169. Mabuse (Jan Gossart), c. 1478-1532, Flemish, Apollo Citharoedus of the Casa Sassi, 1509. Pen and brown ink, over black chalk, 30.8 x 17.7 cm. Gallerie dell’Accademia, Venice. Northern Renaissance. 170. Niccolò dell’ Abate, 1509-1571, Italian, Madonna and Child Enthroned with Saint Basil the Great and Saint John the Baptist and Donor, 1509-1571. Pen and brown ink, brush and brown wash mounted on board, 23.2 x 19.4 cm. The Metropolitan Museum of Art, New York. Mannerism. 171. Amico Aspertini, c. 1474-1552, Italian, Hercules and the Lernaean Hydra, date unknown. Pen, ink and wash. Galleria degli Uffizi, Florence. Mannerism.

99

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:47 3:37 PM PMPage Page 100 100

175. Raphael (Raffaello Sanzio), 1483-1520, Italian, Interior View of the Pantheon, c. 1510. Pen and ink on paper, 22 x 40.5 cm. Galleria degli Uffizi, Florence. High Renaissance. 176. Baldassare Peruzzi, 1481-1536, Italian, Theatrical Perspective with Symbolic Monuments of Rome, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.

172

172. Baldassare Peruzzi, 1481-1536, Italian, Interior View of Santo Stefano Rotondo, date unknown. Pen and brown wash on white paper. Galleria degli Uffizi, Florence. High Renaissance.

173. Baldassare Peruzzi, 1481-1536, Italian, The Baths of Diocletian, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.

173

100

174. Raphael (Raffaello Sanzio), 1483-1520, Italian, A Soldier Before the Chapel of St. Peter, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.

174

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:48 3:37 PM PMPage Page 101 101

— 16 CENTURY — TH

175

176

101

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:48 3:37 PM PMPage Page 102 102

177

LEONARDO DA VINCI

(Vinci, 1452 - Le Clos-Lucé, 1519) Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship, but more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship by applying a sharp subtlety to modelling by light and shade, which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not only to paint the exterior appearance of the body but also, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective, this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

102

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:48 3:37 PM PMPage Page 103 103

— 16 CENTURY — TH

178

179

177. Leonardo da Vinci, 1452-1519, Italian, Self-Portrait, c. 1512. Red chalk on paper, 33.3 x 21.3 cm. Biblioteca Reale, Turin. High Renaissance.

178. Hans Holbein the Elder, 1460/1465-1524, German, Ambrosius and Hans Holbein, 1511. Silverpoint on white-coated paper, 10.3 x 15.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

179. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Portrait of a Young Woman, 1510-1511. Black pencil on paper, 42 x 26.5 cm. Galleria degli Uffizi, Florence. High Renaissance.

103

Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 3/20/2014 13:34 PM Page3:37 104 PM Page 104

180

181

181. Follower of Raphael (1483-1520), Italian, Saint Michael Slaying the Demon, c. 1511-1520. Pen and brown ink, brown wash, black chalk and white heightening, 41.6 x 27.7 cm. Musée du Louvre, Paris. High Renaissance.

180. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Rider and Fallen Soldier, c. 1537. Chalk on paper. Staatliche Graphische Sammlung, Munich. High Renaissance.

182

182. Hieronymus Bosch, c. 1450-1516, Flemish, A Group of Ten Spectators, 1516. Pen and brown ink on paper, 12.4 x 12.6 cm. The Morgan Library and Museum, New York. Northern Renaissance.

104

183

183. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Studies of Saint Sebastian and the Virgin and Child, c. 1519. Pen and brown ink on paper, 16.2 x 13.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. High Renaissance.

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:48 3:37 PM PMPage Page 105 105

— 16 CENTURY — TH

184

185

105

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 Drawings_16th_4C_23 Oct 2013_Layout 1 3/20/2014 13:36 PM Page3:37 106 PM Page 106

184. Amico Aspertini, c. 1474-1552, Italian, Masculine Nude or A God of the Rivers, date unknown. Chalk and wash on paper. Galleria degli Uffizi, Florence. Mannerism. 185. Niccolò dell’ Abate, 1509-1571, Italian, Landscape, date unknown. Pen and ink on paper. Galleria degli Uffizi, Florence. Mannerism. 186. Antonio da Sangallo the Younger, 1484-1546, Italian, Architecture Study, c. 1513-1517. Pen and brown ink over a sketch in pencil, 33.4 x 48.5 cm. Galleria degli Uffizi, Florence. High Renaissance.

106

186

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 Drawings_16th_4C_23 Oct 2013_Layout 1 3/20/2014 13:36 PM Page3:37 107 PM Page 107

— 16 CENTURY — TH

107

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/7/2013 9:50 AM Page 108

187

188

108

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:49 3:37 PM PMPage Page 109 109

— 16 CENTURY — TH

189

190

187. Baccio Bandinelli (attributed to), 1488-1560, Italian, An Unidentified Subject, with Figures Kneeling before a Bearded Man, c. 1515. Red chalk, 25.5 x 32.5 cm. British Museum, London. High Renaissance.

191

188. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Landscape with a Castle, 1512. Pen and brown ink, 15 x 21.6 cm. Galleria degli Uffizi, Florence. High Renaissance.

189. Niklaus Manuel Deutsch, 1484-1530, Swiss, The Mocking of Christ, 1513-1514. Pen and black ink with white and gold highlights on red-brown prepared paper, 54.1 x 21.7 cm. J. Paul Getty Museum, Los Angeles. Northern Renaissance.

190. Follower of Albrecht Altdorfer (c. 1480-1538), German, The Holy Family with Saint Elizabeth and the Infant Saint John, 1513. Pen and dark brown ink highlighted with brush and opaque white on light brown prepared paper, 21.5 x 14.8 cm. The Metropolitan Museum of Art, New York. Northern Renaissance.

191. Raphael (Raffaello Sanzio), 1483-1520, Italian, Study for The Madonna of the Fish, 1513-1514. Red chalk and black pencil on paper, 26.7 x 26.4 cm. Galleria degli Uffizi, Florence. High Renaissance.

109

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 3:37 Drawings_16th_4C_23 Oct 2013_Layout 1 10/21/20141 9:10 AM Page 110PM Page 110

192. Albrecht Dürer, 1471-1528, German, Barbara Dürer (Dürer’s Mother), 1514. Charcoal, 42.2 x 30.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

193. Albrecht Altdorfer, c. 1480-1538, German, Preparatory Drawing for the Frescoes for the Royal Baths in Regensburg, c. 1515. Pen and ink, wash. Galleria degli Uffizi, Florence. Northern Renaissance.

194. Raphael (Raffaello Sanzio), 1483-1520, Italian, Hebe and Proserpina, 1517. Red chalk on paper, 25.7 x 16.4 cm. Teylers Museum, Haarlem. High Renaissance.

195. Raphael (Raffaello Sanzio), 1483-1520, Italian, Two Masculine Nudes, 1515. Red chalk and metalpoint on paper, 41 x 28 cm. Albertina, Vienna. High Renaissance.

196. Rosso Fiorentino, 1494-1540, Italian, Macabre Allegory, 1517-1518. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. Mannerism.

192

193

110

197. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Two Satyrs in a Landscape, date unknown. Pen and brown ink, white gouache on fine, off-white laid paper, 21.6 x 15.1 cm. The Metropolitan Museum of Art, New York. High Renaissance.

Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 3:37 C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 10/20/20141 3:54 PM Page 111PM Page 111

— 16 CENTURY — TH

195

197

194

196

111

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:51 3:37 PM PMPage Page 112 112

198

199

198. Matthias Grünewald, c. 1475-1528, German, St. Dorothy with the Basket of Flowers, c. 1520. Black chalk and watercolour, heightened with white on paper, 35.8 x 25.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

199. Parmigianino (Francesco Mazzola), 1503-1540, Italian, Study of a Kanephoros for the decoration of the vault of Santa Maria della Steccata, Parma, c. 1533-1535. Pencil and red chalk, heightened with white, 27.6 x 18.1 cm. Albertina, Vienna. Mannerism.

CORREGGIO (Antonio Allegri) (Correggio, 1489?-1534) Correggio founded the Renaissance school in Parma, but little is known of his life. He was born in the small town of Correggio. There he was educated, but in his seventeenth year an outbreak of the plague drove his family to Mantua, where the young painter had the opportunity to study the pictures of Mantegna and the collection of works of art accumulated originally by the Gonzaga family and later by Isabella d’Este. In 1514 he went back to Parma, where his talents found ample recognition; and for some years the story of his life is the record of his work, culminating in his wonderful re-creation of light and shade. It was not, however, a record of undisturbed quiet, for the decoration which he made for the dome of the cathedral was severely criticised. Choosing the subject of the Resurrection, he projected upon the ceiling a great number of ascending figures, which, viewed from below, necessarily involved a multitude of legs, giving rise to the apt description that the painting resembled a “fry of frogs”. It may have been the trouble which later ensued with the chapter of the cathedral, or depression caused by the death of his young wife, but at the age of thirty-six, indifferent to fame and fortune, he retired to the comparative obscurity of his birth place, where for four years he devoted himself to the painting of mythological subjects: scenes of fabled beings removed from the real world and set in a golden arcadia of dreams. His work prefigures Mannerism and the Baroque style.

112

Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 3:37 C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 10/20/20141 3:57 PM Page 113PM Page 113

— 16 CENTURY — TH

200

200. Correggio (Antonio Allegri), 1489?-1534, Italian, The Adoration of the Magi, c. 1517. Red chalk and white gouache on paper, 29.1 x 19.7 cm. The Metropolitan Museum of Art, New York. High Renaissance.

113

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:51 3:37 PM PMPage Page 114 114

201

202 203

201. Lucas Cranach the Elder, 1472-1553, German, Head of a Peasant, c. 1520-1525. Watercolour with opaque white highlights, 19.3 x 15.7 cm. Kunstmuseum Basel, Basel. Northern Renaissance. 202. Albrecht Dürer, 1471-1528, German, Cardinal Albrecht von Brandenburg, 1518. Charcoal, 42.8 x 32.1 cm. Albertina, Vienna. Northern Renaissance. 203. Sebastiano del Piombo (Sebastiano Luciani), 1485/1486-1547, Italian, Cartoon for the Head of Saint James, c. 1520. Black and white chalk on paper, 30.2 x 30.5 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.

114

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:51 3:37 PM PMPage Page 115 115

— 16 CENTURY — TH

205

204

MATTHIAS GRÜNEWALD (Würzburg, c. 1475 - Halle an der Saale, 1528) Grünewald and Dürer were the most prominent artists of their era. Painter, draughtsman, hydraulic engineer and architect, he is considered the greatest colourist of the German Renaissance. But, unlike Dürer, he did not make prints and his works were not numerous: ten or so paintings (some of which are composed of several panels) and approximately thirty-five drawings. His masterpiece is the Isenheim Altarpiece, commissioned in 1515. His works show a dedication to medieval principles, to which he brought expressions of emotion not typical of his contemporaries.

204. Albrecht Dürer, 1471-1528, German, Erasmus of Rotterdam, 1520. Black chalk, 37.3 x 26.8 cm. Musée du Louvre, Paris. Northern Renaissance. 205. Matthias Grünewald, c. 1475-1528, German, Head of a Young Woman, c. 1520. Black chalk on paper, 27.7 x 19.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 206. Matthias Grünewald, c. 1475-1528, German, Head of a Shouting Child, c. 1520. Black chalk on paper, 24.4 x 20 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

206

115

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:51 3:37 PM PMPage Page 116 116

207

ANDREA DEL SARTO (Andrea d’Agnolo) (Florence, 1486-1530) The epithet ‘del sarto’ (of the tailor) is derived from his father’s profession. Apart from a visit to Fontainebleau in 1518-1519 to work for Francis I, Andrea was based in Florence all his life. A pioneer of Mannerism and a leading fresco painter of the High Renaissance, Andrea selected subjects that were nearly always covered in bright, solidly coloured robes without adornment. Major works include the John the Baptist series at the Chiostro dello Scalzo (1511-1526) and his Madonna of the Harpies (1517). Andrea suffered from being the contemporary of such giants as Michelangelo and Raphael, but he undoubtedly ranks as one of the greatest masters of his time.

116

Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 3/20/2014 13:37 PM Page3:38 117 PM Page 117

— 16 CENTURY — TH

208

209

210

207. Andrea del Sarto (Andrea d’Agnolo), 1486-1530, Italian, Study for the Head of Mary Magdalene, date unknown. Red pencil on watermarked white paper, 21.7 x 17 cm. Galleria degli Uffizi, Florence. High Renaissance.

208. Andrea del Sarto (Andrea d’Agnolo), 1486-1530, Italian, Head of an Old Man in Profile, date unknown. Black pencil and wash on watermarked white paper, 21.8 x 18.1 cm. Galleria degli Uffizi, Florence. High Renaissance.

209. Sebastiano del Piombo (Sebastiano Luciani), 1485/1486-1547, Italian, Nativity of Mary (preparatory study for the altarpiece for Chigi Chapel at Santa Maria del Popolo, Rome), c. 1520. Black pencil, brush, brown ink, brown wash and white highlights in blue paper, 40.1 x 28.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. High Renaissance.

210. Sebastiano del Piombo (Sebastiano Luciani), 1485/1486-1547, Italian, Portrait of a Young Man, date unknown. Black chalk on paper. Galleria degli Uffizi, Florence. High Renaissance.

117

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:51 3:38 PM PMPage Page 118 118

211

212 213

211. Andrea del Sarto (Andrea d’Agnolo), 1486-1530, Italian, Woman with a Book in Her Hand, date unknown. Red pencil and red watercolour on watermarked white paper, 24.2 x 20.1 cm. Galleria degli Uffizi, Florence. High Renaissance.

212. Andrea del Sarto (Andrea d’Agnolo), 1486-1530, Italian, Study for the Angel of the Annunciation, date unknown. Red pencil, black pencil and red wash on watermarked white paper, 34.5 x 29.3 cm. Galleria degli Uffizi, Florence. High Renaissance.

213. Rosso Fiorentino, 1494-1540, Italian, Virgin and Child with Saints, c. 1522. Black pencil and grey watercolour on brownish-white paper, 33.1 x 25.3 cm. Galleria degli Uffizi, Florence. Mannerism.

214. Michelangelo Buonarroti, 1475-1564, Italian, Study for the Libyan Sibyl in the Sistine Chapel, c. 1510-1511. Red chalk, 28.9 x 21.4 cm. The Metropolitan Museum of Art, New York. High Renaissance.

118

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:51 3:38 PM PMPage Page 119 119

— 16 CENTURY — TH

214

119

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 12/16/2013 12/16/2013 3:50 3:38PM PM Page Page120 120

215

216

216. Jacopo Pontormo (Jacopo Carucci), 1494-1557, Italian, Sitting Young Man, c. 1520-1521. Black pencil on paper, 40.2 x 26.4 cm. Galleria degli Uffizi, Florence. Mannerism.

215. Parmigianino (Francesco Mazzola), 1503-1540, Italian, Three Studies of Putti, c. 1520. Pen and brown ink, brown wash and red chalk, 15.7 x 15.6 cm. The Morgan Library and Museum, New York. Mannerism.

217

218

217. Parmigianino (Francesco Mazzola), 1503-1540, Italian, Circe, date unknown. Black pencil, pen, brown wash and white lead on watermarked white paper. Galleria degli Uffizi, Florence. Mannerism.

120

218. Mabuse (Jan Gossart), c. 1478-1532, Flemish, Design for a Glass Window with Saint John the Evangelist (detail), 1520s. Pen and brown ink and brown wash, 602 x 219 cm. Galleria degli Uffizi, Florence. Northern Renaissance.

Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 3:38 C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 10/20/20141 3:59 PM Page 121PM Page 121

— 16 CENTURY — TH

219

219. Jacopo Pontormo (Jacopo Carucci), 1494-1557, Italian, Study for a Man in Profile, c. 1522-1525. Red chalk on paper, 28.1 x 19.5 cm. British Museum, London. Mannerism.

121

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 2:52 PM Page 122

220

122

Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 3:38 C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 10/20/20141 4:00 PM Page 123PM Page 123

— 16 CENTURY — TH

221

222

221. Michelangelo Buonarroti, 1475-1564, Italian, Ideal Head of a Woman, 1525-1528. Black chalk on paper, 28 x 22.8 cm. British Museum, London. High Renaissance.

222. Michelangelo Buonarroti, 1475-1564, Italian, Ideal Head, date unknown. Red chalk on paper, 20.5 x 16.5 cm. Ashmoleon Museum, Oxford. High Renaissance.

220. Albrecht Dürer, 1471-1528, German, Portrait of a 93-Year-Old Man (study for Saint Jerome), 1521. Brush drawing on grey-violet primed paper, 41.5 x 28.2 cm. Albertina, Vienna. Northern Renaissance.

ALBRECHT DÜRER (Nuremberg, 1471-1528) Dürer is the greatest of German artists and the most representative of the German mind. He, like Leonardo, was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment, being well grounded in the sciences and mathematics of the day. His skill in draughtsmanship was extraordinary; Dürer is even more celebrated for his engravings on wood and copper than for his paintings. With both, the skill of his hand was at the service of the most minute observation and analytical research into the character and structure of form. Dürer, however, had not the feeling for abstract beauty and ideal grace that Leonardo possessed, but instead a profound earnestness, a closer interest in humanity, and a more dramatic invention. Dürer was a great admirer of Luther and in his own work is the equivalent of what was mighty in the Reformer. It is very serious and sincere, very human, and addressed the hearts and understanding of the masses. Nuremberg, his hometown, had become a great centre of printing and the chief distributor of books throughout Europe. Consequently, the art of engraving upon wood and copper, which may be called the pictorial branch of printing, was much encouraged. Of this opportunity Dürer took full advantage. The Renaissance in Germany was more a moral and intellectual movement than an artistic one, partly due to northern conditions. The feeling for ideal grace and beauty is fostered by the study of the human form, and this had been flourishing predominantly in southern Europe. But Albrecht Dürer had a genius too powerful to be conquered. He remained profoundly Germanic in his stormy penchant for drama, as was his contemporary Mathias Grünewald, a fantastic visionary and rebel against all Italian seductions. Dürer, in spite of all his tense energy, dominated conflicting passions by a sovereign and speculative intelligence comparable with that of Leonardo. He, too, was on the border of two worlds, that of the Gothic age and that of the modern era, and on the border of two arts, being an engraver and draughtsman rather than a painter.

123

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:53 3:38 PM PMPage Page 124 124

223

223. Hans Holbein the Younger, 1497/1498-1543, German, An Unidentified Woman, c. 1526-1528. Black and coloured chalks on paper, 40.5 x 29.2 cm. Royal Collection Trust, London. Northern Renaissance. 224

225

224. Hans Holbein the Younger, 1497/1498-1543, German, Bust of a Young Woman, Smiling, c. 1520-1522. Silverpoint, pen and black ink, brown and grey wash, red chalk and white chalk on prepared paper, 19.2 x 15.5 cm. Musée du Louvre, Paris. Northern Renaissance. 225. Bernard van Orley, c. 1488-1542, Flemish, The Resurrection of Christ, c. 1525-1530. Black chalk heightened with white on three sheets of paper joined together, 88.6 x 47.9 cm. Yale University Art Gallery, New Haven. Northern Renaissance. 226. Hans Holbein the Younger, 1497/1498-1543, German, Portrait of Jacob Meyer zum Hasen, c. 1525-1526. Black and coloured chalks and metalpoint on paper, 38.3 x 27.5 cm. Kunstmuseum Basel, Basel. Northern Renaissance. 227. Hans Holbein the Younger, 1497/1498-1543, German, An Unidentified Woman, c. 1526-1528. Black and coloured chalks on paper, 35.6 x 24.8 cm. Royal Collection Trust, London. Northern Renaissance. 228. Hans Holbein the Younger, 1497/1498-1543, German, Sir Thomas More, c. 1526-1527. Black and coloured chalks on paper, 39.8 x 29.9 cm. Royal Collection Trust, London. Northern Renaissance.

124

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:53 3:38 PM PMPage Page 125 125

— 16 CENTURY — TH

226

227

228

HANS HOLBEIN THE YOUNGER (Augsburg, 1497/1498 - London, 1543) The genius of Holbein blossomed early. His native city of Augsburg was then at the zenith of its greatness; on the high road between Italy and the North, it was the richest commercial city in Germany, and the frequent halting-place of the Emperor Maximilian. His father, Hans Holbein the Elder, was himself a painter of merit, and took his son into his studio. In 1515, when he was eighteen years old, he moved to Basel, the centre of learning, whose boast was that every house in it contained at least one learned man. He set out for London with a letter of introduction to Sir Thomas More, the King’s Chancellor, ‘Master Haunce,’ as the English called him, arriving towards the close of 1526. Here Holbein was welcomed, and made his home during this first visit to England. He painted portraits of many of the leading men of the day, and executed drawings for a picture of the family of his patron. He soon became a renowned Northern Renaissance portrait painter of major contemporary figures. His work typically includes amazing details showing natural reflections through glass or the intricate weave of elegant tapestry. By 1537, Holbein had come to the notice of Henry VIII, and was established as court painter, a position he held until his death.

125

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:53 3:38 PM PMPage Page 126 126

229 230

229. Titian (Tiziano Vecellio), 1489/14901576, Italian, Saint John with a Lamb in a Landscape, 1525. Pen and traces of red on watermarked white paper, 22.8 x 36.1 cm. Galleria degli Uffizi, Florence. High Renaissance. 230. Andrea del Sarto (Andrea d’Agnolo), 1486-1530, Italian, Study of Figures Behind a Balustrade, c. 1525. Red chalk, 17.5 x 20 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.

126

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:53 3:38 PM PMPage Page 127 127

— 16 CENTURY — TH

231

231. Albrecht Dürer, 1471-1528, German, A Coastal Fortress, c. 1527. Pen and black ink on off-white paper, 21.3 x 20.3 cm. Biblioteca Ambrosiana, Milan. Northern Renaissance.

127

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:53 3:38 PM PMPage Page 128 128

232

232. After Bernard van Orley (c. 1488-1542), Flemish, The Flight of the Garrison from Pavia and the Defeat of the Swiss, c. 1526-1528. Ink and wash, 38.5 x 75.7 cm. Musée du Louvre, Paris. Northern Renaissance.

128

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:53 3:38 PM PMPage Page 129 129

— 16 CENTURY — TH

129

C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 10/20/2014 4:01 PM Page 130

233

235

130

234

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:54 3:38 PM PMPage Page 131 131

— 16 CENTURY — TH

237

237. Michelangelo Buonarroti, 1475-1564, Italian, Study for the Head of Leda, c. 1530. Red chalk, 35.4 x 26.9 cm. Casa Buonarroti, Florence. High Renaissance.

236

233. Correggio (Antonio Allegri), 1489?-1534, Italian, Allegory of Vice, c. 1530-1535. Red chalk on paper, 27.3 x 19.5 cm. British Museum, London. High Renaissance. 234. Jacopo Pontormo (Jacopo Carucci), 1494-1557, Italian, Nude Figure or Christ for Deposition, 1526. Red chalk on paper, 35 x 27.7 cm. Galleria degli Uffizi, Florence. Mannerism. 235. Michelangelo Buonarroti, 1475-1564, Italian, Archers Shooting at a Herm, c. 1530. Red chalk on paper, 21.9 x 32.3 cm. Royal Collection Trust, London. High Renaissance. 236. Jacopo Pontormo (Jacopo Carucci), 1494-1557, Italian, Christ in Majesty and the Creation of Eve, date unknown. Black chalk on squared paper, 33 x 17 cm. Galleria degli Uffizi, Florence. Mannerism.

238

238. Giulio Romano, c. 1490-1546, Italian, An Allegory of the Virtues of Federico II Gonzaga (detail), c. 1530. Pen and brown ink over black chalk, 24.9 x 31.8 cm. J. Paul Getty Museum, Los Angeles. Mannerism.

131

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:55 3:38 PM PMPage Page 132 132

239 240

241

239. Giulio Romano, c. 1490-1546, Italian, Virgin and Child with Saint Anne, date unknown. Black pencil, pen, brown watercolour and white lead on watermarked paper, 147 x 134 cm. Galleria degli Uffizi, Florence. Mannerism.

240. Perino del Vaga (Pietro Buonaccorsi), 1501-1547, Italian, Two Allegorical Figures for the Lintel of a Door, date unknown. Pen and brown watercolour on paper. Galleria degli Uffizi, Florence. High Renaissance.

241. Jacopo Pontormo (Jacopo Carucci), 1494-1557, Italian, The Visitation, c. 1528. Black pencil, stump and traces of white chalk on paper, 32.7 x 24 cm. Galleria degli Uffizi, Florence. Mannerism.

242. Correggio (Antonio Allegri), 1489?-1534, Italian, Study for an Architectural Decoration, date unknown. Indian ink and brown wash, 17 x 20.4 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. High Renaissance.

243. Giulio Romano, c. 1490-1546, Italian, Apparition of Saint Andrew in Glory, date unknown. Pen and brown ink, brush and brown wash, highlighted with white gouache, on blue paper, 18.6 x 26.7 cm. The Metropolitan Museum of Art, New York. Mannerism.

132

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:55 3:38 PM PMPage Page 133 133

— 16 CENTURY — TH

242

243

133

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/7/2013 10:55 AM Page 134

244

134

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 3/12/2014 2:55 1:46PM PM Page Page135 135

— 16 CENTURY — TH

246 245 247

244. Hans Holbein the Younger, 1497/1498-1543, German, Margaret, Lady Elyot, c. 1532-1534. Black and coloured chalks with pen and ink on paper, 27.8 x 20.8 cm. Royal Collection Trust, London. Northern Renaissance.

245. Hans Holbein the Younger, 1497/1498-1543, German, Sir Thomas Elyot, c. 1532-1534. Black and coloured chalks and ink on paper, 27.8 x 20.8 cm. Royal Collection Trust, London. Northern Renaissance.

246. Hans Holbein the Younger, 1497/1498-1543, German, William Reskimer, c. 1532-1534. Black and coloured chalks, pen and ink and metalpoint on paper, 29 x 21 cm. Royal Collection Trust, London. Northern Renaissance.

247. Hans Holbein the Younger, 1497/1498-1543, German, Simon George, c. 1535. Black and coloured chalks, pen and ink and metalpoint on paper, 27.9 x 19.1 cm. Royal Collection Trust, London. Northern Renaissance.

135

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:55 3:38 PM PMPage Page 136 136

248

248. Maarten van Heemskerck, 1498-1574, Dutch, Interior View of the Coliseum, 1532-1536. Pen and brown ink, grey wash, 18.6 x 25.9 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

249

136

249. Jacopo Pontormo (Jacopo Carucci), 1494-1557, Italian, Two Facing Nudes, c. 1532. Red chalk on paper, 11.2 x 25.5 cm. Galleria degli Uffizi, Florence. Mannerism.

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:55 3:38 PM PMPage Page 137 137

— 16 CENTURY — TH

250

250. Maarten van Heemskerck, 1498-1574, Dutch, Composite Capitals and View of the Coliseum, 1532-1536. Pen and brown ink, 13.5 x 21.1 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

251. Michelangelo Buonarroti, 1475-1564, Italian, Tityus, 1532. Black chalk on paper, 19 x 33 cm. Royal Collection Trust, London. High Renaissance.

251

137

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:56 3:38 PM PMPage Page 138 138

252

253

254

252. Maarten van Heemskerck, 1498-1574, Dutch, Courtyard of Casa Maffei in Rome, 1532-1536. Pen and ink and brown wash, 12.7 x 20.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 253. Maarten van Heemskerck, 1498-1574, Dutch, The Seprizonium and the Domus Aurea, 1532-1536. Pen and ink, wash, 19.8 x 14.8 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 254. Maarten van Heemskerck, 1498-1574, Dutch, Monument to Marcus Aurelius before Lateran Basilica, 1532-1536. Pen and ink and brown wash, 12.6 x 20.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 255. Hans Holbein the Younger, 1497/1498-1543, German, Portrait of Charles de Solier, Lord of Morette, 1534-1535. Chalk and pastels on paper. Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, Dresden. Northern Renaissance.

138

255

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 2:56 PM Page 139

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:56 3:38 PM PMPage Page 140 140

256

257

258

256. Michelangelo Buonarroti, 1475-1564, Italian, Study for The Last Judgment in the Sistine Chapel, c. 1534. Black pencil, highlights in pen added later, 42 x 29.7 cm. Casa Buonarroti, Florence. High Renaissance.

257. Michelangelo Buonarroti, 1475-1564, Italian, Pietà, c. 1538-1544. Black chalk on paper, 28.9 x 18.9 cm. Isabella Stewart Gardner Museum, Boston. High Renaissance.

258. Michelangelo Buonarroti, 1475-1564, Italian, Cleopatra, c. 1535. Black chalk on paper, 23.2 x 18.2 cm. Casa Buonarotti, Florence. High Renaissance.

140

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:56 3:38 PM PMPage Page 141 141

— 16 CENTURY — TH

260 261

259

259. Hans Holbein the Younger, 1497/1498-1543, German, Queen Jane Seymour, c. 1536-1537. Black and coloured chalks, pen and ink and metalpoint on paper, 50 x 28.5 cm. Royal Collection Trust, London. Northern Renaissance.

260. Hans Holbein the Younger, 1497/1498-1543, German, Sir Richard Southwell, 1536. Black and coloured chalks, pen and ink and metalpoint on paper, 36.6 x 27.7 cm. Royal Collection Trust, London. Northern Renaissance.

261. Hans Holbein the Younger, 1497/1498-1543, German, Sir Thomas Lestrange, c. 1536. Black and coloured chalks, pen and ink and metalpoint on paper, 24.3 x 21 cm. Royal Collection Trust, London. Northern Renaissance.

141

C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 3/20/2014 3:37 PM Page 142

262

263

142

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:57 3:38 PM PMPage Page 143 143

— 16 CENTURY — TH

264

265

262. Jacopo Pontormo (Jacopo Carucci), 1494-1557, Italian, A Hermaphrodite, 1538-1542. Red chalk on paper, 21 x 29 cm. Galleria degli Uffizi, Florence. Mannerism.

263. Antonio da Sangallo the Younger, 1484-1546, Italian, Longitudinal Plan of the North Façade for the project for St. Peter’s Basilica, 1538. Galleria degli Uffizi, Florence. High Renaissance.

264. Francesco Salviati (Francesco de’ Rossi), 1510-1563, Italian, The Golden Age, date unknown. Pen, brown watercolour, white lead and traces of black pencil on brownish-white paper, 41.4 x 53.3 cm. Galleria degli Uffizi, Florence. Mannerism.

265. Giorgio Vasari, 1511-1574, Italian, Pietà, date unknown. Pen and ink, traces of black pencil on paper, 41.7 x 30.5 cm. Galleria degli Uffizi, Florence. High Renaissance.

143

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:57 3:38 PM PMPage Page 144 144

266

267

268

266. Michelangelo Buonarroti, 1475-1564, Italian, Christ on the Cross between the Virgin and St John, c. 1550-1560. Black chalk on paper, 41.2 x 28.5 cm. British Museum, London. High Renaissance.

267. Bronzino (Agnolo di Cosimo), 1503-1572, Italian, Naked Children Flying (study for the angels for the tapestry representing The Dream of Joseph), c. 1548. Black pencil and stump on brownish-white paper, 26.3 x 18.4 cm. Galleria degli Uffizi, Florence. Mannerism.

268. Lucas Cranach the Younger, 1515-1586, German, Christ Among the Children (detail), c. 1540. Pen and black ink, grey wash on light brown squared paper, 32.7 x 35.3 cm. Museum der Bildenden Künste, Leipzig. Northern Renaissance.

269. Francesco Salviati (Francesco de’ Rossi), 1510-1563, Italian, Allegory of Fortune, date unknown. Black pencil and traces of white chalk on paper, 457 x 296 cm. Galleria degli Uffizi, Florence. Mannerism.

144

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:57 3:38 PM PMPage Page 145 145

— 16 CENTURY — TH

269

145

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 12/16/2013 Drawings_16th_4C_23 Oct 2013_Layout 1 3/20/2014 13:38 PM Page3:38 146 PM Page 146

270

270. Jacopo Bassano (Jacopo da Ponte), c. 1510-1592, Italian, Domestic Scene, date unknown. Black and white chalk on blue paper. Galleria degli Uffizi, Florence. Mannerism.

271

271. Jacopo Bassano (Jacopo da Ponte), c. 1510-1592, Italian, Adoration of the Shepherds, date unknown. Charcoal and coloured pencils, 39.1 x 53.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Mannerism.

146

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:57 3:38 PM PMPage Page 147 147

— 16 CENTURY — TH

272

272. Francesco Primaticcio, 1504-1570, Italian, Minerva Facing Jupiter and Juno, date unknown. Pencil and red wash, white lead and pen on paper, 38.5 x 28.4 cm. Galleria degli Uffizi, Florence. Mannerism.

273. Francesco Primaticcio, 1504-1570, Italian, Juno Awakening Jupiter, date unknown. Pen and ink and wash heightened in white on paper. Galleria degli Uffizi, Florence. Mannerism.

FRANCESCO PRIMATICCIO (Bologna, 1504 - Paris, 1570)

The Italian painter and architect Francesco Primaticcio was a student of Giulio Romano, whom he assisted in his works on the Palazzo del Te in Mantua. It is there that he established his reputation by executing grand decorative compositions under the direction of Romano, often together with Il Rosso, and at the same time learned how to model and sculpt. Summoned to France in 1531 by Francis I to decorate the Fontainebleau Palace, he created admirable works of decoration in stucco and painting in the form of mythological frescos in the gallery of Henri II. Aside from his paintings, Primaticcio provided sketches and plans for an infinite number of works of sculpture, ornamentation, furniture, silversmithing, etc. His works are distinguished by their elegance, grace, and finesse, brought together with the most brilliant execution. However, his drawings are often incorrect: his elegance is mannered, and his figures lack character and energy. In this way, he was an early representative of decadence in Italian art. The patronage of the Duchess of Etampes, the king’s mistress, sheltered him from the attacks by Cellini. During a trip to Italy which Primaticcio made on the orders of Francis I in 1540, he acquired and brought to France a considerable number of classical statues and sculptures, along with casts of Trajan’s Column, the Laocoön, the Venus de’ Medici, and others. Appointed as superintendent of royal construction by Francis II in 1559 and showered with riches and favours by four consecutive kings, he exercised something of an artistic dictatorship during that era.

147

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 2:58 PM Page 148

273

148

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:58 3:38 PM PMPage Page 149 149

— 16 CENTURY — TH

149

C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 3/20/2014 3:38 PM Page 150

150

274

275

276

277

278

279

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:59 3:38 PM PMPage Page 151 151

— 16 CENTURY — TH

280

274. Pieter Bruegel the Elder, c. 1525-1569, Flemish, Alpine Landscape, 1553. Pen and brown ink, 23.6 x 34.3 cm. Musée du Louvre, Paris. Northern Renaissance.

280. Pieter Bruegel the Elder, c. 1525-1569, Flemish, Big Fish Eat Little Fish, 1556. Pen and ink on paper, 21.5 x 30.2 cm. Albertina, Vienna. Northern Renaissance.

275. Pieter Bruegel the Elder, c. 1525-1569, Flemish, The Fair at Hoboken, 1559. Pen and brown ink, 26.5 x 39.4 cm. The Courtauld Gallery, London. Northern Renaissance. 276. Pieter Bruegel the Elder, c. 1525-1569, Flemish, The Ass at School, 1556. Pen and Indian ink, 23.2 x 30.2 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 277. Pieter Bruegel the Elder, c. 1525-1569, Flemish, Pride (from the series The Seven Deadly Sins), 1556-1557. Pen and brown ink, 22.3 x 29.3 cm. Fondation Custodia, Paris. Northern Renaissance. 278. Pieter Bruegel the Elder, c. 1525-1569, Flemish, The Alchemist, 1558. Pen and brown ink on paper, 30.8 x 45.3 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance. 279. Pieter Bruegel the Elder, c. 1525-1569, Flemish, Elck or The Everyman, 1558. Pen and brown ink, 20.9 x 29.2 cm. British Museum, London. Northern Renaissance.

PIETER BRUEGEL THE ELDER (Breda?, c. 1525 - Brussels, 1569)

Pieter Bruegel was the first important member of a family of artists who were active for four generations. Firstly a draughtsman before becoming a painter, he painted religious themes, such as Babel Tower, with very bright colours. Influenced by Hieronymus Bosch, he painted large, complex scenes of peasant life and scripture or spiritual allegories, often with crowds of subjects performing a variety of acts, yet his scenes are unified with an informal integrity and often with wit. In his work, he brought a new humanising spirit. Befriending the Humanists, Bruegel composed true philosophical landscapes in the heart of which man accepts passively his fate, caught in the track of time.

151

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 2:59 PM Page 152

281

282

152

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20132:59 3:38 PM PMPage Page 153 153

— 16 CENTURY — TH

283

284

281. Pieter Bruegel the Elder, c. 1525-1569, Flemish, The Last Judgement, 1558. Pen and brown ink on paper, 23 x 30 cm. Albertina, Vienna. Northern Renaissance.

282. Pieter Bruegel the Elder, c. 1525-1569, Flemish, Charity (from the series The Seven Virtues), 1559. Pen and brown ink on paper, 22.4 x 29.9 cm. Museum Boijmans Van Beuningen, Rotterdam. Northern Renaissance.

283. Pieter Bruegel the Elder, c. 1525-1569, Flemish, Christ’s Descent into Limbo, 1561. Pen and brown ink on paper, 22.3 x 29.4 cm. Albertina, Vienna. Northern Renaissance.

284. Maarten van Heemskerck, 1498-1574, Dutch, Man Protected by the Shield of Faith, 1559. Pen and brown ink over traces of black chalk; indented for transfer, 36.4 x 25.9 cm. The Metropolitan Museum of Art, New York. Northern Renaissance.

153

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:00 3:38 PM PMPage Page 154 154

285. Titian (Tiziano Vecellio), 1489/14901576, Italian, Unititled (The Sacrifice of Abraham), date unknown. Black chalk heightened with white chalk on grey-blue paper, 23.2 x 25.8 cm. École nationale supérieure des BeauxArts, Paris. High Renaissance. 286. Titian (Tiziano Vecellio), 1489/14901576, Italian, Archangel Gabriel, 1560. Black chalk and white highlights, 42.2 x 27.9 cm. Galleria degli Uffizi, Florence. High Renaissance. 285 286

TITIAN (Tiziano Vecellio) (Pieve di Cadore, 1489/1490 - Venice, 1576) Titian was at once a genius and a favourite of fortune; he moved through his long life of pomp and splendour serene and self-contained. The details of his early life are not certain. He was of an old family, born at Pieve in the mountain district of Cadore. By the time that he was eleven years old he was sent to Venice, where he became the pupil, first of Gentile Bellini, and later of Gentile’s brother, Giovanni. Then he worked with the great artist Giorgione. He worked on major frescos in Venice and Padua, as well as commissions in France for Francis I (1494-1547) and in Spain for Charles V (1500-1558). His equestrian portrait of Charles V (1549) symbolises a military victory over Protestant princes in 1547. Titian then went to Rome for commissions by Pope Paul III (1534-1549), then to Spain to work exclusively for Philip II (1527-1598). No artist’s life was so completely and consistently superb; such, too, is the character of his work. He was great in portraiture, in landscape and in the painting of religious and mythological subjects. In any one of these departments others have rivalled him, but his glory is that he attained an eminence in all; he was an artist of universal gifts – an all-embracing genius; equable, serene, majestic. Titian’s beautiful reclining women, whether called Venus or any other name, are among the most original of the creations of the Venetian school and particularly of its great masters, to which he and Giorgione belonged. His works differ greatly from the Florentine nude, which is generally standing, resembling sometimes, in the fine precision of its contours, the precious work of a goldsmith and sometimes the great marble of a sculptor.

154

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:00 3:38 PM PMPage Page 155 155

— 16 CENTURY — TH

287

287. Pieter Bruegel the Elder, c. 1525-1569, Flemish, The Painter and the Collector, c. 1565. Pen and ink on paper, 25.5 x 21.5 cm. Albertina, Vienna. Northern Renaissance.

155

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 3:00 PM Page 156

288

289

156

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:01 3:38 PM PMPage Page 157 157

— 16 CENTURY — TH

290

291

292

288. Pieter Bruegel the Elder, c. 1525-1569, Flemish, View of the Old Fortifications of Amsterdam, 1562. Pen and ink. Private collection. Northern Renaissance.

289. Antoine Caron, 1521-1599, French, The Water Festival at Bayonne, 24 June 1565, date unknown. Black chalk, pen and brown ink and some black ink, grey-brown wash, heightened with white, 34.9 x 49.3 cm. The Morgan Library and Museum, New York. Mannerism.

290. Pieter Bruegel the Elder, c. 1525-1569, Flemish, Spring, 1565. Pen and brown ink on paper, 22 x 29 cm. Albertina, Vienna. Northern Renaissance.

291. Pieter Bruegel the Elder, c. 1525-1569, Flemish, Summer, 1568. Pen and Indian ink on paper, 22 x 28.6 cm. Hamburger Kunsthalle, Hamburg. Northern Renaissance.

292. Pieter Bruegel the Elder, c. 1525-1569, Flemish, The Resurrection, c. 1562. Pen and brown ink on paper, 43.1 x 30.7 cm. Museum Boijmans Van Beuningen, Rotterdam. Northern Renaissance.

157

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:01 3:38 PM PMPage Page 158 158

293

293. Antoine Caron, 1521-1599, French, Diana with Attributes of the Hunt, date unknown. Black chalk, pen and brown ink, brush and brown wash, heightened with white gouache on buff paper, 21.9 x 14.4 cm. The Metropolitan Museum of Art, New York. Mannerism.

295. Michelangelo Buonarroti, 1475-1564, Italian, Study for the Porta Pia, c. 1561. Black chalk, pen and brown ink, brush and ink, 44.2 x 28.1 cm. Casa Buonarroti, Florence. High Renaissance.

294. Pieter Bruegel the Elder, c. 1525-1569, Flemish, The Beekeepers, 1568. Pen and brown ink on paper, 20.3 x 30.9 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

296. François Clouet, 1516?-1572, French, Portrait of an Unknown Man (Louis, Prince of Condé?), 1565. Pencil and chalk on paper. Musée Condé, Chantilly. Mannerism.

158

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:01 3:38 PM PMPage Page 159 159

— 16 CENTURY — TH

294 295

296

159

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 3/12/2014 3:01 1:46PM PM Page Page160 160

297

298

297. Tintoretto (Jacopo Robusti), 1518-1594, Italian, Draped Standing Figure, date unknown. Black chalk on paper, 33.4 x 18 cm. Galleria degli Uffizi, Florence. Mannerism.

298. Tintoretto (Jacopo Robusti), 1518-1594, Italian, Study of an Archer, 1580s. Black chalk on paper, 32.1 x 20.6 cm. Galleria degli Uffizi, Florence. Mannerism.

TINTORETTO (Jacopo Robusti) (Venice, 1518-1594) His father being a dyer of silk (tintore), Tintoretto was given this nickname in his youth, ‘The Little Dyer’, ‘Il Tintoretto’. He became the most important Italian Mannerist painter of the Venetian school. St. Mark, the patron saint of Venice, is thematic in two of his most important works. Most of his major works were on religious themes. About his career, a story tells us that the Brothers of the Confraternity of San Rocco gave Tintoretto a commission for two pictures in their church, and then invited him to enter a competition with Veronese and others for the decoration of the ceiling in the hall of their school. When the day arrived, the other painters presented their sketches, but Tintoretto, being asked for his, removed a screen from the ceiling and showed it already painted. “We asked for sketches”, they said. “That is the way”, he replied, “I make my sketches.” They still demurred, so he made them a present of the picture, and by the rules of their order they could not refuse a gift. In the end they promised him the painting of all the pictures they required, and during his lifetime he covered their walls with sixty large compositions. Yet it is his phenomenal energy and the impetuous force of his work which are particularly characteristic of Tintoretto and earned for him the sobriquet among his contemporaries of Il Furioso. He painted so many pictures, and on so vast a scale, that some show the effects of over-haste and extravagance, which caused Annibale Carracci to say that, “while Tintoretto was the equal of Titian, he was often inferior to Tintoretto.” The main interest of his work is his love for foreshortening, and it is said that to help him with the complex poses he favoured, Tintoretto used to make small wax models which he arranged on a stage and experimented on with spotlights for effects of light and shade and composition. This method of composing explains the frequent repetition in his works of the same figures seen from different angles.

160

Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 3/12/2014 1:46161 PM Page 161 C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 10/21/20141 2:04 PM Page

— 16 CENTURY — TH

299

299. El Greco (Domenikos Theotokopoulos), 1541-1614, Spanish, born Crete, Day, c. 1570. Red chalk on paper, 59.5 x 34.5 cm. Staatliche Graphische Sammlung, Munich. Mannerism.

300. Tintoretto (Jacopo Robusti), 1518-1594, Italian, Study of a Woman, date unknown. Black chalk on paper, 34.7 x 13.3 cm. Galleria degli Uffizi, Florence. Mannerism.

EL GRECO (Domenikos Theotokopoulos) (Crete, 1541 - Toledo, 1614) ‘The Greek’ was an icon painter who immigrated to Venice. There he began his blending of Byzantine influences with that of the Italian High Renaissance masters. He studied under Titian and was influenced by Tintoretto. Some years on, he lived in Rome for about two years, then travelled to Madrid and later found his permanent home in Toledo, where he died. It was mainly in Spain where he focused on distinctively Catholic subjects. The elongated bodies and unusual colour arrangements became distinctive. 300

161

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 3:02 PM Page 162

301

302

162

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 3/12/2014 3:02 3:49PM PM Page Page163 163

— 16 CENTURY — TH

301. Giovanni Antonio Dosio, 1533-1609, Italian, Sectional View of the Pantheon, date unknown. Pen and ink and wash on paper. Galleria degli Uffizi, Florence. Mannerism.

302. Giovanni Antonio Dosio, 1533-1609, Italian, Theatre of Marcellus, date unknown. Pen and ink and wash on paper. Galleria degli Uffizi, Florence. Mannerism.

303. Veronese (Paolo Caliari), 1528-1588, Italian, Head of a Woman, date unknown. Black chalk on paper. Galleria degli Uffizi, Florence. Mannerism.

303

VERONESE (Paolo Caliari) (Verona, 1528 - Venice, 1588) Paolo Veronese was one of the great masters of the late Renaissance in Venice with Titian and Tintoretto, the three of them seen as a triumvirate. Originally named Paolo Caliari, he was called Veronese from his native city of Verona. He is known for his works of supreme colouring and for his illusionistic decorations in both fresco and oil. His large paintings of biblical feasts executed for the refectories of monasteries in Venice and Verona are especially celebrated (like The Marriage at Cana). He also painted many portraits, altarpieces and historical and mythological paintings. He headed a family workshop that remained active after his death. Although highly successful, he had little immediate influence. To the Flemish Baroque master Peter Paul Rubens and to the 18th-century Venetian painters, especially Giovanni Battista Tiepolo, however, Veronese’s handling of colour and perspective supplied an indispensable point of departure. The quality of his paintings is of sober restraint. Veronese is simply what he was – a painter. The purpose of his pictures is immediately self-evident. Some people will say that this self-evidence is the proper scope of painting; that ‘art for art’s sake’ should be the sole object of the painter; that the representation of anything else but what is apparent to the eye is going outside the province of the art; and that the preference which so many people have for a picture which makes an appeal not only to the eye, but to the intellect or the poetic and dramatic sense, is a proof of vulgar taste which confuses painting with illustration. The best answer to this is that not solely laymen, but artists also in all periods – artists of such personality that they cannot be ignored – have tried to reinforce the grandeur of mere appearances with something that shall appeal to the mind and soul of men.

163

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 3/12/2014 3:02 1:45PM PM Page Page164 164

304

304. Veronese (Paolo Caliari), 1528-1588, Italian, Marriage at Cana, date unknown. Pen and ink, wash and white highlights on paper. Galleria degli Uffizi, Florence. Mannerism. 305

305. Giovanni Antonio Dosio, 1533-1609, Italian, View of the Basilica of Maxentius, date unknown. Pencil on paper. Galleria degli Uffizi, Florence. Mannerism.

306. Tintoretto (Jacopo Robusti), 1518-1594, Italian, Six Figures in a Landscape, date unknown. Chalk and watercolour. Galleria degli Uffizi, Florence. Mannerism.

307. Tintoretto (Jacopo Robusti), 1518-1594, Italian, The Last Supper, date unknown. Pen, ink and highlights in white lead, 28 x 38 cm. Galleria degli Uffizi, Florence. Mannerism.

164

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:02 3:38 PM PMPage Page 165 165

— 16 CENTURY — TH

306

307

165

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:02 3:38 PM PMPage Page 166 166

308 309

ADRIAEN DE VRIES (The Hague, c. 1545 — Prague, 1626) The Dutch sculptor Adriaen de Vries played a major role in the development of mannerism in Northern Europe. During the 1580s, he resided in Italy and was a student of Giambologna in Florence, where he made copies for the Emperor Rudolf II. The sculptor’s first known work is his Mercury and Psyche, displayed in the Louvre, which was inspired by the style of Giambologna. Recalled to Prague, he was then sent to Augsburg where he lived for a number of years and created significant works, most notably the fountain of Mercury in 1599 and the fountain of Heracles in 1602. Most of his works, made in bronze, benefited considerably from the nature of their medium, which lends character and curve to compositions. Paradoxically, none of the commissions he carried out ever made it to the Netherlands.

308. Giuseppe Arcimboldo, 1527?-1593, Italian, Two Portraits of Rudolph II with Crown, 1575. Pen and ink on paper, 16.5 x 16.5 and 15.5 x 15.5 cm. Národní Galerie, Prague. Mannerism.

309. Adriaen de Vries, c. 1545-1626, Dutch, Mercury and Psyche, date unknown. Pen and brown ink, 45.2 x 26 cm. Nationalmuseum, Stockholm. Mannerism.

166

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:03 3:38 PM PMPage Page 167 167

— 16 CENTURY — TH

311

312

310

310. Jean Clouet, c. 1475-1540, French, The Dauphin François, date unknown. Pencil, red chalk and touches of watercolour. Musée du Louvre, Paris. Northern Renaissance.

311. François Clouet, 1516?-1572, French, Portrait of Marguerite of France, daughter of Louis II, Prince of Condé, Duke of Savoy, date unknown. Pencil, red chalk and touches of watercolour. Musée Condé, Chantilly. Mannerism.

312. François Clouet, 1516?-1572, French, Preparatory Drawing for the Portrait of Elisabeth of Austria, Queen of France, c. 1571. Black and red chalk and highlights in white chalk, 34 x 23.2 cm. Bibliothèque national de France, Paris. Mannerism.

167

Drawings_16th_ENG_P-OK(P-6)_13 dec2013_Layout 8/28/2014 11:54 C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 8/28/2014 111:18 AM Page 168AM Page 168

313

314

313. El Greco (Domenikos Theotokopoulos), 1541-1614, Spanish, born Crete, Saint John the Evangelist, c. 1577. Black chalk on paper, 25.5 x 15.5 cm. Biblioteca Nacional de España, Madrid. Mannerism.

314. Giuseppe Arcimboldo, 1527?-1593, Italian, Self-Portrait, c. 1571-1576. Pen, blue wash, 23.1 x 15.7 cm. Národní Galerie, Prague. Mannerism.

315

315. Federico Barocci, c. 1535-1612, Italian, Study of Hands, date unknown. Chalk on paper. Galleria degli Uffizi, Florence. Mannerism.

168

316

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 8/28/2014 3:03 11:54 PM AMPage Page 169 169

— 16 CENTURY — TH

317

317. Annibale Carracci, 1560-1609, Italian, An Angel Playing the Violin, 1585. Red chalk, 16.4 x 20 cm. British Museum, London. Baroque.

316. Federico Barocci, c. 1535-1612, Italian, Study of a Sleeping Child, date unknown. Chalk on paper. Galleria degli Uffizi, Florence. Mannerism.

169

C_The Book Drawings_16th_4C_23 Oct 2013_Layout 1 3/20/2014 3:39 PM Page 170

318

319

170

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:04 3:38 PM PMPage Page 171 171

— 16 CENTURY — TH

320

318. Joannes Stradanus (Jan van der Straet), 1523-1605, Flemish, The Fox Hunt, date unknown. Pen and ink, traces of white lead, 24.2 x 38.2 cm. Galleria degli Uffizi, Florence. Mannerism.

319. Joannes Stradanus (Jan van der Straet), 1523-1605, Flemish, Discovery of America: Vespucci Landing in America, c. 1587-1589. Pen and brown ink, brown wash, heightened with white, over black chalk, 19 x 26.9 cm. The Metropolitan Museum of Art, New York. Mannerism.

320. Giuseppe Arcimboldo, 1527?-1593, Italian, Head of a Masked Woman, c. 1585. Pen and blue wash. Galleria degli Uffizi, Florence. Mannerism.

321. Giuseppe Arcimboldo, 1527?-1593, Italian, Costume Design of a Marine Creature, c. 1585. Pen and blue wash. Galleria degli Uffizi, Florence. Mannerism.

321

GIUSEPPE ARCIMBOLDO (Milan, 1527?—1593) At his debut, Arcimboldo’s contemporaries could not have imagined he would become famous for that which he is now. His youthful works were normally made for cathedrals in Milan or Monza, but it is from 1562, when he was summoned to the Imperial Court in Prague, that his style and subjects changed. For the court he imagined original and grotesque fantasies made of flowers, fruit, animals and objects composed to form a human portrait. Some were satiric portraits, and others were allegorical personifications. If his work is now regarded as a curiosity of the 16th century, it actually finds its roots in the context of the end of the Renaissance. At that time, collectors and scientists started to pay more attention to nature, looking for natural curiosities to exhibit in their curio cabinets.

171

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:04 3:38 PM PMPage Page 172 172

322

323

324

322. Joannes Stradanus (Jan van der Straet), 1523-1605, Flemish, Illustration for Dante’s Divine Comedy: Inferno, Canto XXXIV (detail), 1587. Pen and ink and brown wash heightened with white. Galleria degli Uffizi, Florence. Mannerism.

323. Pieter de Witte (Pietro Candido), c. 1548-1628, Flemish, Study for the Angel of the Annunciation of Brescia, 1595. Charcoal, pen and black ink, brush and white lead on brown paper, 32.8 x 22 cm. Hamburger Kunsthalle, Hamburg. Mannerism.

324. Federico Barocci, c. 1535-1612, Italian, Head of a Boy, c. 1586-1589. Black, red, white and pink chalk on blue paper, 24.9 x 17.6 cm. J. Paul Getty Museum, Los Angeles. Mannerism.

325. Bartholomeus Spranger, 1546-1611, Flemish, Diana and Actaeon, c. 1590-1595. Pen and brown ink, brush and brown and grey wash, white heightening, over traces of black chalk, on paper washed blue and pink, 41.3 x 32.1 cm. The Metropolitan Museum of Art, New York. Mannerism.

326. Jan Bruegel the Elder, 1568-1625, Flemish, View of Heidelberg, 1588-1589. Pen and brown ink, brush and blue and brown washes, heightened with white, 20 x 30.5 cm. The Metropolitan Museum of Art, New York. Mannerism.

172

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/6/2013 12/16/20133:05 3:38 PM PMPage Page 173 173

— 16 CENTURY — TH

325

173

C_The Book Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/6/2013 3:05 PM Page 174

326

174

C_The Book Drawings_16th_ENG_P-OK(P-6)_13 Drawings_16th_ENG_A-OK_23 Oct 2013_4C:Layout dec2013_Layout11 11/7/2013 12/16/20138:14 3:38 AM PMPage Page 175 175

— 16 CENTURY — TH

175

D_The Book Drawings_17th_4C_23 Oct 2013_Layout 1 10/20/2014 4:11 PM Page 176

327

176

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:01 4:28 PM PMPage Page 177 177

17th Century

V

incenzo Carducci, an Italian artist and theorist living in the Spain of Velázquez and Zurbarán, adopted the classical form of a dialogue for his great treatise on painting. Here, an aspiring young artist meets his master for a series of conversations in which the latter will talk his apprentice through the different stages of the art of painting. Although he does not side clearly with either line or colour, Carducci’s text clearly informs the reader of the primordial role of drawing. In the selected extracts, the master stresses the importance not only of manual skill, but also, and more importantly, of the mind. Through this text, one can get a clear idea of the spirit of the time, of its deep debts with the Renaissance and of the role it conceded to drawing: “Master: [...] Whenever you hear the word “Drawing”, you must think always of it as the perfection of Art [...]. “When we commonly hear the expression “good drawing”, we must always think of it in the way we understand perfect painting, this is, good forms and proportions, in which the parts are in good relation to the whole, and this is what we call external drawing [...] internal [drawing] is when it is potential [...], formed in the mind with perfection and which the hands will then express through means of lines [...]. It is impossible for any of these arts [painting, sculpture, architecture] to be good without prudent and learned drawing [...]. “Apprentice: I know now that we wrongly call a good draftsman he who only makes good use of the pencil, the pen, wash and coloured pencils [...]. “Master: That of which you speak is only material drawing [...] and it is so called because it takes the part for the

whole [...] [External drawing] is the visible demonstration of the scientific interior, of the Artist’s rational being [...] that is why you will see that when we look at a painting, the first thing the learned eye will observe is if it is well or badly drawn. The artist either knows or does not know how to draw, and yet in a painting and in a sculpture we see no lines [...] To use an example: when we read a text and say it is well written, we do not mean that the author has good handwriting [...] but rather that what he writes is elegant, learned and erudite. We must think the same way when we refer to drawing, this is, that it must have good proportions and forms [...]. “External drawing is the first step to painting, it is the perfection of proportions and perspective laid down by the learned hand through lines, shadows and light [...] [Drawing is divided into] three types: the first one is that in which the subject is brought about through memory or the reading of a book, or sheer fantasy, which is commonly known as “inventing”. [...] this is the genre used by those who are most skilled in order to shed light on ideas which the Artist nurtures [...] and gives life to in the form of sketches, as an embryo which he will feed with the precepts of science and perspective until it reaches its ultimate perfection [...]. “The second is the most difficult and worthy, because, where the first can be the result of the force of genius, the second can only exist through much work and study after one has taken inspiration from memory or books in order to know the subject he wishes to represent [...]. “The third, and least worthy, is the one that is copied from other drawings, from nature or simply a model, paying no attention to anything other than imitation.” Vincenzo Carducci, Diálogos de la pintura, 1633

327. Peter Paul Rubens, 1577-1640, Flemish, Portrait of Ferdinando I Gonzaga, 1601-1602. Black, red and white chalk, 22.4 x 16 cm. Nationalmuseum, Stockholm. Baroque.

177

D_The Book Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/11/2013 4:01 PM Page 178

328

329

178

330

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:01 4:28 PM PMPage Page 179 179

— 17 CENTURY — TH

331

332

333

328. Peter Paul Rubens, 1577-1640, Flemish, The Battle of Anghiari (after Leonardo da Vinci), c. 1600-1608. Pen and ink and wash on paper, 45.3 x 63.6 cm. Musée du Louvre, Paris. Baroque. 329. Hendrick Goltzius, 1558-1617, Dutch, Sine Cerere et Libero friget Venus (Without Ceres and Bacchus, Venus Would Freeze), c. 1600-1603. Ink and oil on canvas, 105.1 x 80 cm. Philadelphia Museum of Art, Philadelphia. Mannerism. 330. Annibale Carracci, 1560-1609, Italian, Domestic Scene, date unknown. Pen and brown and grey-black ink, brush with grey and brown wash, over black chalk, 32.8 x 23.6 cm. The Metropolitan Museum of Art, New York. Baroque. 331. Nicolas Lagneau, c. 1600-1650, French, Portrait of an Unknown Man, c. 1600-1650. Black chalk, stump, red chalk and watercolour, 31 x 22.5 cm. Schlossmuseum, Weimar. Baroque. 332. Annibale Carracci, 1560-1609, Italian, Portrait of a Man (Baldassarre Aloisi, called le Galianino), date unknown. Red chalk, 34.9 x 26.3 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Baroque. 333. Bartholomeus Spranger, 1546-1611, Flemish, Venus and Mercury, c. 1600. Pen and brown ink and grey wash, heightened with white, 37 x 25.4 cm. Yale University Art Gallery, New Haven. Mannerism.

179

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:01 4:28 PM PMPage Page 180 180

334

334. Pieter Bruegel the Younger, 1564-1638, Flemish, The Martinswand near Zirl, in the Alps, date unknown. Pen and brown ink on paper. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Mannerism.

180

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:03 4:28 PM PMPage Page 181 181

— 17 CENTURY — TH

181

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:03 4:28 PM PMPage Page 182 182

335

336

335. Jacques Bellange, c. 1575-1616, French, Holy family with Saints Anne and Mary Magdalene, c. 1611-1612. Pen and brown ink and brown wash over black chalk and yellow ochre crayon, traced for transfer, 33.8 x 25.3 cm. Yale University Art Gallery, New Haven. Baroque.

336. Jacques Bellange, c. 1575-1616, French, Saint Roch, c. 1605-1610. Pen and brown ink, brown watercolour, 20.9 x 18 cm. Galleria degli Uffizi, Florence. Baroque. 337

337. Federico Zuccaro, 1540/1542-1609, Italian, The Allegiance of Frederick I Barbarossa to Pope Alexander III, c. 1600. Pen, brown ink, brown wash over black and red chalk, 27 x 42 cm. Private collection. Courtesy of Sotheby’s, London. Mannerism.

338. Abraham Bloemaert, 1566-1651, Dutch, Pastoral Scene, 1610-1612. Pen and ink, brown and white wash on paper, 17.9 x 24.2 cm. The State Hermitage Museum, St. Petersburg. Baroque.

339. Paul Bril, 1553/1554-1626, Flemish, Montecavallo, date unknown. Pen and ink. Galleria degli Uffizi, Florence. Baroque.

182

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:03 4:28 PM PMPage Page 183 183

— 17 CENTURY — TH

338

339

183

Drawings_17th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 D_The Book Drawings_17th_4C_23 Oct 2013_Layout 10/20/2014 14:12 PM Page4:28 184PM Page 184

340

341

342

PETER PAUL RUBENS (Siegen, 1577 - Antwerp, 1640) The eclectic art of which the Carracci family dreamed was realised by Rubens with the ease of genius. However, the problem was much more complicated for a man of the north, who wished to add to it a fusion of the Flemish and Latin spirits, of which the rather pedantic attempts of Romanism had illustrated the difficulties. He achieved it without losing anything of his overflowing personality, his questing imagination, and the enchanting discoveries of the greatest colourist known to painting. Rubens, the greatest master of Baroque painting’s exuberance, took from the Italian Renaissance what could be of use to him, and then built upon it a style of his own. It is distinguished by a wonderful mastery of the human form and an amazing wealth of splendidly-lighted colour. He was a man of much intellectual poise and was accustomed to court life, travelling from court to court, with pomp, as a trusted envoy. Rubens was one of those rare mortals who do real honour to humanity. He was handsome, good and generous, and he loved virtue. His laborious life was well ordered. The creator of so many delightful pagan feasts went each morning to mass before proceeding to his studio. He was the most illustrious type of happy and perfectly balanced genius, and combined in his personage passion and science, ardour and reflection. Rubens expressed drama as well as joy, since nothing human was foreign to him, and he could command at will the pathos of colour and expression which he required in his religious masterpieces.

184

D_The Book Drawings_17th_4C_23 Drawings_17th_ENG_P-OK(P-5)_13 Oct 2013_Layout Dec12013_Layout 10/20/2014 14:14 12/16/2013 PM Page4:28 185PM Page 185

— 17 CENTURY — TH

343

344

GUIDO RENI (Bologna, 1575-1642) Guido Reni was a painter, a draughtsman and an etcher. He joined the naturalistic Carracci School when he was twenty, after having studied under Denis Calvaert. Deeply influenced by Greco-Roman art and Raphael, whom he greatly admired, by Parmigianino and by Veronese, his work was celebrated for its compositional and figural grace. He depicted the light, the perfection of the body, and shining colours. He was greatly noted and distinguished during the pontificate of Paul V.

340. Peter Paul Rubens, 1577-1640, Flemish, Nude Man Kneeling, c. 1609. Black and white chalk, 52 x 39 cm. Museum Boijmans Van Beuningen, Rotterdam. Baroque. 341. Peter Paul Rubens, 1577-1640, Flemish, Study for a Crucified Man, c. 1610. Black chalk with some brown wash, heightened with white, 52.7 x 37 cm. British Museum, London. Baroque. 342. Peter Paul Rubens, 1577-1640, Flemish, Seated Nude Youth (study for Daniel in the Lion’s Den), c. 1615. Black chalk, heightened with white chalk, on grey paper, 50 x 29.9 cm. The Morgan Library and Museum, New York. Baroque. 343. Guido Reni, 1575-1642, Italian, Apollo on the Sun Chariot (study for Aurora), c. 1614. Red chalk, pen and ink on paper, 12.6 x 25.5 cm. Albertina, Vienna. Classicism. 344. Peter Paul Rubens, 1577-1640, Flemish, Hercules (after the Farnese Hercules), c. 1615-1622. Red and black chalk, 47.4 x 32 cm. British Museum, London. Baroque.

185

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:05 4:28 PM PMPage Page 186 186

345

345. Hendrick Barentsz Avercamp, 1585-1634, Dutch, Landscape with a Cottage, c. 1615-1620. Pen and ink and wash on paper. Location unknown. Baroque.

346

186

346. Nicolas Poussin, 1594-1665, French, View of the Aventine Hill, Rome, date unknown. Pen and brown ink wash. Galleria degli Uffizi, Florence. Classicism.

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:05 4:28 PM PMPage Page 187 187

— 17 CENTURY — TH

347. Anthony van Dyck, 1599-1641, Flemish, The Entombment, 1617-1618. Black chalk, pen and brown ink, wash, red chalk, and white heightening, 25.4 x 21.8 cm. J. Paul Getty Museum, Los Angeles. Baroque.

347

ANTHONY VAN DYCK (Antwerp, 1599 - London, 1641) Van Dyck was accustomed early to Rubens’ sumptuous lifestyle and, when he visited Italy with letters of introduction from his master, lived in the palaces of his patrons, himself adopting such an elegant ostentation that he was spoken of as ‘the Cavalier Painter’. After his return to Antwerp his patrons belonged to the rich and noble class, and his own style of living was modelled on theirs so that, when in 1632 he received the appointment of court painter to Charles I of England, he maintained an almost princely establishment, and his house at Blackfriars was a resort of fashion. The last two years of his life were spent travelling on the Continent with his young wife, the daughter of Lord Gowry. His health, however, had been broken by the excesses of work, and he returned to London to die. He was buried at St. Paul’s Cathedral. Van Dyck tried to amalgamate the influences of Italy (Titian, Veronese, Bellini) and Flanders, and he succeeded in some paintings, which have a touching grace, notably in his Madonnas and Holy Families, his Crucifixions and Depositions from the Cross, and also in some of his mythological compositions. In his younger days he painted many altarpieces full of sensitive religious feeling and enthusiasm. However, his main glory was as a portraitist, the most elegant and aristocratic ever known. The great Portrait of Charles I in the Louvre is a work unique for its sovereign elegance. In his portraits, he invented a style of elegance and refinement which became a model for the artists of the 17th and 18th centuries, corresponding as it did to the genteel luxury of the court life of the period. He is also considered one of the greatest colourists in the history of art.

187

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:05 4:28 PM PMPage Page 188 188

348

349

350

348. Palma il Giovane (Jacopo Palma the Younger), 1548-1628, Italian, Christ Standing in a Chalice Supported by Angels, 1620s. Pen, brown ink with traces of black chalk on paper, 26.9 x 19.3 cm. Scottish National Gallery, Edinburgh. Baroque.

349. Abraham Bloemaert, 1566-1651, Dutch, Four Studies of Hands and a Counterproof of a Kneeling Young Man, 1620s. Red chalk heightened with white wash, 25.1 x 17.1 cm. J. Paul Getty Museum, Los Angeles. Baroque.

350. Peter Paul Rubens, 1577-1640, Flemish, Portrait of Nicolas Rubens, c. 1619. Black and red chalk, heightened with white chalk on paper, 25.2 x 20.2 cm. Albertina, Vienna. Baroque.

351. Guercino (Giovanni Francesco Barbieri), 1591-1666, Italian, A Theatrical Performance in the Open Air, c. 1620. Pen and brown ink, brush and brown wash, over black chalk, 35.8 x 46.2 cm. British Museum, London. Baroque.

352. Nicolas Poussin, 1594-1665, French, View of Villeneuve-les-Avignon, date unknown. Pen and brown ink wash. Musée Condé, Chantilly. Classicism.

188

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:05 4:28 PM PMPage Page 189 189

— 17 CENTURY — TH

351

352

189

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:05 4:28 PM PMPage Page 190 190

353

353. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Saint Paul Meditating, c. 1627-1629. Red chalk with white highlights, and Indian ink wash, 23.7 x 20.1 cm. Musée du Louvre, Paris. Baroque.

190

Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 112/16/2013 PM 191 D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Dec 2013_Layout 12/16/20133:52 4:28 PMPage Page 191

— 17 CENTURY — TH

354

354. Hendrick Barentsz Avercamp, 1585-1634, Dutch, Nine Peasants around a Wheelbarrow, date unknown. Pen and watercolour on paper, 10.5 x 17.1 cm. Pushkin Museum, Moscow. Baroque.

355

356

355. Claes Jansz Visscher the Younger, 1587-1652, Dutch, Port Scene, date unknown. Pen and brown wash, 17.7 x 25 cm. Nationalmuseum, Stockholm. Baroque.

356. Johann Liss, c. 1595-1631, German, Fighting Peasants, date unknown. Pen and brown ink heightened in white on brown prepared paper, 22.8 x 33.5 cm. Hamburger Kunsthalle, Hamburg. Baroque.

191

Drawings_17th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 D_The Book Drawings_17th_4C_23 Oct 2013_Layout 10/20/2014 14:15 PM Page4:28 192PM Page 192

357

358

359

357. Peter Paul Rubens, 1577-1640, Flemish, Portrait of a Young Woman, c. 1620-1622. Black, red, and white chalk, 38.8 x 28 cm. Museum Boijmans Van Beuningen, Rotterdam. Baroque.

358. Peter Paul Rubens, 1577-1640, Flemish, Robin, the Dwarf of the Earl of Arundel, 1620. Black, red and white chalk, pen and brown ink on light grey paper, 40.8 x 25.8 cm. Nationalmuseum, Stockholm. Baroque.

359. Peter Paul Rubens, 1577-1640, Flemish, Jesuit Missionary in Chinese Robes, c. 1622-1625. Black and green chalk, 42.4 x 24.8 cm. The Morgan Library and Museum, New York. Baroque.

192

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:07 4:28 PM PMPage Page 193 193

— 17 CENTURY — TH

360

360. Esaias van de Velde, 1587-1630, Dutch, Skaters on the Ice, c. 1620. Black chalk and brown wash on paper, 12.5 x 17 cm. Pushkin Museum, Moscow. Baroque.

361

361. Wenceslaus Hollar, 1607-1677, Bohemian, View of the Danube in Upper Alteich, 1625-1650. Pen and ink, brush and pencil on paper, 11.5 x 25.1 cm. Rijksmuseum, Amsterdam. Baroque.

193

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:08 4:28 PM PMPage Page 194 194

362

363

362. Diego Velázquez, 1599-1660, Spanish, Head of a Girl, c. 1620. Black pencil on laid paper, 15.1 x 11.6 cm. Biblioteca Nacional de España, Madrid. Baroque.

363. Diego Velázquez, 1599-1660, Spanish, Head of a Girl, c. 1620-1622. Black pencil on laid paper, 20 x 13.4 cm. Biblioteca Nacional de España, Madrid. Baroque.

DIEGO VELÁZQUEZ (Seville, 1599 - Madrid, 1660) Diego Velázquez was an individualistic artist of the contemporary Baroque period. At age twenty-four, Velázquez made his first trip to Madrid with his teacher, Francisco Pacheco. Quickly, he qualified as a master painter. King Philip IV noticed his genius and appointed him court painter in 1627. Shortly afterward the artist befriended Rubens in Madrid. He developed a more realistic approach to religious art in which figures are naturalistic portraits rather than depicted in an idealistic style. The use of chiaroscuro is reminiscent of Caravaggio’s works. Velázquez made at least two trips to Rome to buy Renaissance and neoclassical art for the King. In Rome, he joined the Academy of St. Luke in 1650 and was knighted into the order of Santiago in 1658. His large commissioned work, Surrender of Breda (c. 1634), shows the defeat of the Dutch at the hands of the Spanish, and glorified the military triumph of Philip’s reign. The artist painted Pope Innocent X (1650) during his second trip to Rome, most likely recalling similar works by Raphael and Titian. This portrait is considered one of the greatest masterpieces of portraiture in the history of art, so realistic that the Pope himself would have said, “troppo vero”. He mastered the art of portraiture because he looked beyond external trappings into the human mystery beneath his subjects, as evidenced in his remarkable series of dwarfs, who were present in many royal courts at that time. He depicted their humanity instead of doing caricatures. His later works were more spontaneous, but still disciplined. The culmination of his career is his masterwork, Las Meninas (1656). It is indeed one of the most complex essays in portraiture. Velázquez is acknowledged to be the most important Spanish painter of his century. He influenced major painters such as Goya and Manet.

194

364. Nicolas Poussin, 1594-1665, French, Mars and Venus, c. 1626. Pen and brown ink wash, 20 x 27 cm. Musée Condé, Chantilly. Classicism. 365. Guido Reni, 1575-1642, Italian, Head of a Woman Looking Up (Judith), 1625-1626. Red and black chalk, on originally blue paper now faded to light brown-grey, 33.6 x 22.6 cm. The Metropolitan Museum of Art, New York. Classicism. 366. Guido Reni, 1575-1642, Italian, Half-Body Study of a Suffering Man, date unknown. Black chalk, white heightening, 26.2 x 21.5 cm. Musée du Louvre, Paris. Classicism.

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:08 4:28 PM PMPage Page 195 195

— 17 CENTURY — TH

364

365

366

195

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:08 4:28 PM PMPage Page 196 196

367

368

367. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Study for The Abduction of Ganymede, c. 1635. Pen and ink and wash with white highlights, 18.5 x 16.1 cm. Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, Dresden. Baroque.

368. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Self-Portrait with Mouth Open, c. 1628-1629. Pen and brown ink and wash on paper, 12.2 x 9.5 cm. British Museum, London. Baroque.

REMBRANDT HARMENSZ VAN RIJN (Leiden, 1606 - Amsterdam, 1669) Rembrandt is completely mysterious in his spirit, his character, his life, his work, and his method of painting. What we can divine of his essential nature comes through his painting and the trivial or tragic incidents of his unfortunate life; his penchant for ostentatious living forced him to declare bankruptcy. His misfortunes are not entirely explicable, and his oeuvre reflects disturbing notions and contradictory impulses emerging from the depths of his being, like the light and shade of his pictures. In spite of this, nothing perhaps in the history of art gives a more profound impression of unity than his paintings, composed though they are of such different elements, full of complex significations. One feels as if his intellect, that genial, great, free mind, bold and ignorant of all servitude and which led him to the loftiest meditations and the most sublime reveries, derived from the same source as his emotions. From this comes the tragic element he imprinted on everything he painted, irrespective of subject; there was inequality in his work as well as the sublime, which may be seen as the inevitable consequence of such a tumultuous existence. It seems as though this singular, strange, attractive and almost enigmatic personality was slow in developing, or at least in attaining its complete expansion. Rembrandt showed talent and an original vision of the world early, as evidenced in his youthful etchings and his first self-portraits of about 1630. In painting, however, he did not immediately find the method he needed to express the still incomprehensible things he had to say, that audacious, broad and personal method which we admire in the masterpieces of his maturity and old age. In spite of its subtlety, it was adjudged brutal in his day and certainly contributed to alienate his public. From the time of his beginnings and of his successes, however, lighting played a major part in his conception of painting and he made it the principal instrument of his investigations into the arcana of interior life. It already revealed to him the poetry of human physiognomy when he painted The Philosopher in Meditation or The Holy Family, so deliciously absorbed in its modest intimacy, or, for example, in The Angel Raphael leaving Tobias. Soon he asked for something more. The Night Watch marks at once the apotheosis of his reputation. He had a universal curiosity and he lived, meditated, dreamed and painted thrown back on himself. He thought of the great Venetians, borrowing their subjects and making of them an art out of the inner life of profound emotion. Mythological and religious subjects were treated as he treated his portraits. For all that he took from reality and even from the works of others, he transmuted it instantly into his own substance.

196

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:09 4:28 PM PMPage Page 197 197

— 17 CENTURY — TH

369

370

369. Ottavio Leoni, 1578-1630, Italian, Portrait of Caravaggio, c. 1621-1625. Red and black chalk with white heightening on blue paper, 23.4 x 16.3 cm. Biblioteca Marucelliana, Florence. Baroque.

370. Jacob Jordaens, 1593-1678, Flemish, Self-Portrait, c. 1630-1632. Red and black chalk on paper, 10.1 x 8.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Baroque.

371

372

371. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Head of a Man with a Turban and a Bird of Paradise, c. late 1630s. Pen and brown ink, brown wash and white highlights, 17.8 x 16.9 cm. Musée du Louvre, Paris. Baroque.

372. Anthony van Dyck, 1599-1641, Flemish, Study for an Equestrian Portrait, Possibly that of Albert de Ligne, Count of Arenberg, c. 1628-1632. Pen and brown ink, 23 x 24.5 cm. The Metropolitan Museum of Art, New York. Baroque.

197

Drawings_17th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 D_The Book Drawings_17th_4C_23 Oct 2013_Layout 10/20/2014 14:16 PM Page4:28 198PM Page 198

373

373. Jacques Callot, 1592-1635, French, Study for the Second of the Large Views of Paris, 1629. Black chalk on paper, 16.3 x 33.8 cm. British Museum, London. Baroque.

374

376. Nicolas Poussin, 1594-1665, French, Study for The Rape of the Sabines, c. 1630. Pen and ink and wash on paper, 16.1 x 20.7 cm. Galleria degli Uffizi, Florence. Classicism.

375

374. Philippe de Champaigne, 1602-1674, French, Portrait of Charlotte Duchesne, c. 1628. Black chalk, heightened with white, with touches of red chalk, 22 x 19.6 cm. The Metropolitan Museum of Art, New York. Baroque.

198

375. Claude Lorrain (Claude Gellée), 1600-1682, French, Palazzo del Quirinale, Rome, c. 1630-1635. Graphite, pen and brush in brown ink on paper, 17.3 x 11.8 cm Teylers Museum, Haarlem. Classicism.

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 Drawings_17th_4C_23 Oct 2013_Layout 10/20/2014 14:16 PM Page4:28 199PM Page 199

— 17 CENTURY — TH

376

NICOLAS POUSSIN (Les Andelys, 1594 — Rome, 1665) Although Nicolas Poussin was only four years younger than Vouet, his influence made itself felt in France much later. He was not precocious like Vouet, but may be numbered amongst those great men who have need of reflection and meditation, whose inspiration comes only with maturity. None of his early works have been preserved. His career begins, historically speaking, in 1624 with his arrival in Rome at the age of thirty. He came to Italy in quest of Raphael, whose genius he had discerned from the engravings of Marc-Antoine while still in Paris. The master of the Farnesine and of the Vatican Stanze and Loggia did not disappoint him. However, Titian was a profound surprise to him, and from that time onwards his constant preoccupation was to reconcile the spirit of these two great men. At times he seemed to prefer a method hovering between these magnetic poles, and vacillated between the linear element derived from Raphael and the warm and coloured atmosphere which he admired in Titian. This clear-sighted and impassioned study which Poussin devoted to Raphael and Titian appears perfectly natural today, but this was not so in 1624, when foreign artists in Rome had no eyes except for the Academic art derived from the Bolognese or from the brutal naturalism of the disciples of Caravaggio. Poussin equally detested both, and with his robust, philosophical frankness, condemned both unsparingly. The finest aspect of Poussin’s genius is to have put into his masterpieces more thought than it was ever given to any other painter to express, and to have found for that poetic and philosophical thought an original and plastic interpretation. Poussin is one of the greatest landscape painters. His sketches are comparable only to those of Lorrain, and are perhaps yet finer, while some recall Turner’s most dazzling watercolours. Poussin is inferior to Titian in richness of colour as well as fullness and purity of form; but his poet philosopher’s genius added a lofty spirituality and an indefinable touch of the heroic to the symphony of man and nature. Poussin, who from the age of thirty spent most of his life in Rome, remains the most French of the great painters, and always kept in view that wise and noble balance between reason and feeling, which was the ideal of the Ancients and has been that of artists and writers alike in France.

199

D_The Book Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/11/2013 4:09 PM Page 200

377

200

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:10 4:28 PM PMPage Page 201 201

— 17 CENTURY — TH

201

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:58 4:28 AM PMPage Page 202 202

378 379

377. Jacques Callot, 1592-1635, French, Procession of Fantastic Animals, date unknown. Pen and ink, wash on paper, 15.8 x 24.5 cm. Galleria degli Uffizi, Florence. Baroque.

378. Jacques Callot, 1592-1635, French, Perseus and Andromeda, date unknown. Chalk on paper, 25.3 x 31 cm. Galleria degli Uffizi, Florence. Baroque.

379. Jacques Callot, 1592-1635, French, Figure Studies, date unknown. Pen and brown ink and brown wash on paper, 12.8 x 8.5 cm. The Fitzwilliam Museum, University of Cambridge, Cambridge. Baroque.

380. Jacques Callot, 1592-1635, French, Equestrian Portrait of Louis de Lorraine, Prince of Phalsbourg, date unknown. Brown ink washes over a black chalk underdrawing, 24.7 x 33.3 cm. The Metropolitan Museum of Art, New York. Baroque.

381. Jacques Callot, 1592-1635, French, Louis XIII and Cardinal Richelieu at the Siege of the Île de Ré, date unknown. Black chalk and brown wash on paper, 28.8 x 55.5 cm. Schlossmuseum, Weimar. Baroque.

202

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 112/16/2013 12/16/20133:52 4:28 PM PMPage Page 203 203

— 17 CENTURY — TH

380

381

203

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:11 4:28 PM PMPage Page 204 204

382

382. Jacques Callot, 1592-1635, French, The Resurrection, date unknown. Brown wash over black chalk, 10 x 21.5 cm. Devonshire Collection, Chatsworth. Baroque.

383

204

384

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:11 4:28 PM PMPage Page 205 205

— 17 CENTURY — TH

385 386

383. Francisco Herrera the Elder, c. 1590-1654, Spanish, Head of a Man, date unknown. Pen and ink on paper. Galleria degli Uffizi, Florence. Baroque.

384. Francisco Herrera the Elder, c. 1590-1654, Spanish, Study for the Head of a Saint Leaning on his Left Hand, date unknown. Pen and grey ink and wash, 14 x 9 cm. Hamburger Kunsthalle, Hamburg. Baroque.

385. Philippe de Champaigne, 1602-1672, French, View of Jerusalem with the Temple of Solomon, date unknown. Red chalk on two attached sheets of off-white laid paper, 33.1 x 60.3 cm. The Metropolitan Museum of Art, New York. Baroque.

386. Anthony van Dyck, 1599-1641, Flemish, The Arrest of Christ, date unknown. Pen and brown wash, 24.6 x 21.2 cm. Musée du Louvre, Paris. Baroque.

205

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/201310:00 4:28AM PM Page Page206 206

387

387. Anthony van Dyck, 1599-1641, Flemish, Pieter Brueghel the Younger, c. 1636. Black chalk on paper. Devonshire Collection, Chatsworth. Baroque.

388. Salomon Koninck, 1609-1656, Dutch, Temple Scene: Believers before the High Priest, date unknown. Pen and brown ink and brown wash, 17.5 x 25 cm. Nationalmuseum, Stockholm. Baroque. 389. Jacques Callot, 1592-1635, French, The Descent from the Cross, 1631. Brown wash over black chalk, 10 x 21.5 cm. Devonshire Collection, Chatsworth. Baroque.

206

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:11 4:28 PM PMPage Page 207 207

— 17 CENTURY — TH

388

389

207

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:11 4:28 PM PMPage Page 208 208

390

391

392

390. Jacob Jordaens, 1593-1678, Flemish, Portrait of Rogier Le Witer, 1635. Red chalk on paper, 25.4 x 19.6 cm. Galleria degli Uffizi, Florence. Baroque.

391. Adriaen van Ostade, 1610-1685, Dutch, Peasants Talking, c. 1630. Pen, watercolour and brown pencil on paper, 10.5 x 7.5 cm. The State Hermitage Museum, St Petersburg. Baroque.

392. Diego Velázquez, 1599-1660, Spanish, Study for The Surrender of Breda, 1634-1635. Black pencil on laid paper, 26.3 x 16.7 cm. Biblioteca Nacional de España, Madrid. Baroque.

393. Anthony van Dyck, 1599-1641, Flemish, Nicolaas Rockox, c. 1634-1635. Black chalk, 30.2 x 21.7 cm. Royal Collection Trust, London. Baroque.

208

Drawings_17th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 D_The Book Drawings_17th_4C_23 Oct 2013_Layout 10/20/2014 14:17 PM Page4:28 209PM Page 209

— 17 CENTURY — TH

393

209

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:11 4:28 PM PMPage Page 210 210

394. Gian Lorenzo Bernini, 1598-1680, Italian, Self-Portrait, c. 1635. Black and red chalk on brown paper, 27.5 x 21.5 cm. Ashmolean Museum, Oxford. Baroque.

395. Jacques Callot, 1592-1635, French, View of a Town on the Bank of a River, c. 1633. Brown wash over black chalk, 10.8 x 22.8 cm. British Museum, London. Baroque.

396. Jacques Callot, 1592-1635, French, Besieging a Fortress, c. 1633. Brown wash over black chalk, 11 x 23.1 cm. British Museum, London. Baroque.

397. Jacques Callot, 1592-1635, French, Battle on a Bridge, c. 1633. Brown wash over black chalk, 11 x 23.1 cm. British Museum, London. Baroque. 394

GIAN LORENZO BERNINI (Naples, 1598 - Rome, 1680)

The Italian sculptor, painter, and architect Gian Lorenzo Bernini took his first lessons in sculpture from his father Pietro Bernini. Bernini’s first works testify to his rare talent. David Fighting Goliath, which he allegedly created at the age of fifteen, demonstrates his fastidious nature. Cardinal Barberini, who became Pope under the name Urban VIII (1623-1644), entrusted him with the execution of the embellishments planned for St. Peter’s Basilica in Rome. Pope Alexander VII commissioned him to design the Saint Peter’s Square with colonnades in front of the Vatican basilica. Bernini’s various commissioned works helped spread his reputation throughout Europe. Louis XIV requested his help in the completion of the Louvre. However, in the end Bernini became so tormented that he declared that he wanted to leave, and the construction of the facade was given to Claude Perrault instead. Despite this, Bernini was still considered one of Europe’s most prominent Baroque artists.

210

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 112/16/2013 12/16/20134:27 4:28 PM PMPage Page 211 211

— 17 CENTURY — TH

395

396

397

211

Drawings_17th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 D_The Book Drawings_17th_4C_23 Oct 2013_Layout 10/20/2014 14:17 PM Page4:28 212PM Page 212

398

398. Gian Lorenzo Bernini, 1598-1680, Italian, Portrait of Cardinal Borghese, c. 1632. Red chalk, over graphite, on paper, 25.3 x 18.4 cm. The Morgan Library and Museum, New York. Baroque.

212

Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 111/13/2013 D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Dec 2013_Layout 12/16/201310:00 4:28AM PM Page Page213 213

— 17 CENTURY — TH

399

399. Anthony van Dyck, 1599-1641, Flemish, Inigo Jones, c. 1632-1636. Chalk on paper. Devonshire Collection, Chatsworth. Baroque.

213

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/201310:01 4:28AM PM Page Page214 214

400

400. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, The Last Supper (after Leonardo da Vinci), c. 1634-1635. Red chalk on paper, 36.2 x 47.5 cm. The Metropolitan Museum of Art, New York. Baroque.

401

214

401. Anthony van Dyck, 1599-1641, Flemish, View of Rye from the Northeast, 1633. Pen and brown ink on paper, 20.1 x 29.4 cm. The Morgan Library and Museum, New York. Baroque.

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:13 4:28 PM PMPage Page 215 215

— 17 CENTURY — TH

402

402. Nicolas Poussin, 1594-1665, French, Bacchanal, c. 1635-1636. Pen and brown ink, brush and brown wash, over faint black chalk underdrawing, 13.3 x 20.6 cm. The Metropolitan Museum of Art, New York. Classicism.

403. Guercino (Giovanni Francesco Barbieri), 1591-1666, Italian, Landscape with Figures, date unknown. Pen and ink. Galleria degli Uffizi, Florence. Baroque.

403

215

D_The Book Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/11/2013 4:13 PM Page 216

404

216

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:13 4:28 PM PMPage Page 217 217

— 17 CENTURY — TH

405

406

FRANCISCO DE ZURBARÁN (Fuente de Cantos, 1598 - Madrid, 1664) Contemporary and friend of Velázquez, Zurbarán distinguished himself in his religious paintings. There, his works reveal great force and mysticism. The emblematic artist of the CounterReformation, he was first influenced by Caravaggio and acquired an austere and dark style before getting closer to the Italian Mannerists. Later, his compositions moved away from Velázquez’s realism and became lighter. He was commissioned by Franciscan and Carthusian monasteries to produce religious works, including several versions on the theme of Mary’s Immaculate Conception. He also painted still-lifes and mythological themes.

404. Claude Lorrain (Claude Gellée), 1600-1682, French, Study of Trees, c. 1635. Pen and ink and wash on paper, 28.9 x 20.5 cm Musée du Louvre, Paris. Classicism. 405. Claude Lorrain (Claude Gellée), 1600-1682, French, Stone Pines with Two Figures, c. 1638-1641. Graphite, pen and brush in brown ink on paper, 18 x 25.1 cm. Teylers Museum, Haarlem. Classicism. 406. Francisco de Zurbarán (attributed to), 1598-1664, Spanish, Head of a Monk, c. 1635-1655. Black chalk, wash and ink on paper, 27.7 x 19.6 cm. British Museum, London. Baroque.

217

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 112/16/2013 12/16/20133:53 4:28 PM PMPage Page 218 218

407 408

CLAUDE LORRAIN (Claude Gellée) (Chamagne, 1600 - Rome, 1682) Claude Gellée, called Claude Lorrain, was neither a great man nor a lofty spirit like Poussin. His genius, however, cannot be denied and he was, like Poussin, a profoundly original inventor within the limitations of a classical ideal. He too spent most of his life in Rome though the art he created was not specifically Italian, but French. For more than two centuries afterwards everyone in France who felt called upon to depict the beauties of nature would think of Lorrain and study his works, whether it be Joseph Vernet in the 18th century or Corot in the 19th. Outside France it was the same; Lorrain was nowhere more admired than in England. There is an element of mystery in the vocation of this humble and almost illiterate peasant whose knowledge of French and Italian was equally poor, and who used to inscribe on his drawings notes in a strange broken Franco-Italian. This mystery is in some way symbolic of that with which he imbued his pictures, le mystère dans la lumière. This admirable landscapist drew from within himself the greatest number of extraordinary pictures, in which all is beauty, poetry and truth. He sometimes made from nature drawings so beautiful that several have been attributed to Poussin, but in his paintings his imagination dominates, growing in magnitude as he realised his genius. He understood by listening to Poussin and watching him paint that a sort of intellectual background would be an invaluable addition to his own imagination, visions, dreams and reveries.

218

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:13 4:28 PM PMPage Page 219 219

— 17 CENTURY — TH

409

410

407. Claude Lorrain (Claude Gellée), 1600-1682, French, Coast View with the Castle of Palo, 1638-1639. Pen and grey ink, grey-brown wash and white heightening on blue paper, 22.4 x 34 cm. Musée du Louvre, Paris. Classicism. 408. Pieter Jansz Saenredam, 1597-1665, Dutch, Crossing, Nave and West Window of the Church of St. Bavo in Haarlem, Seen from the Choir, 1635. Pen and ink, black chalk and white and yellow heightening on blue paper, 53.3 x 38.1 cm. Gemeentearchief, Haarlem. Baroque. 409. Guercino (Giovanni Francesco Barbieri), 1591-1666, Italian, Endymion Sleeping, 1635-1650. Pen and brown ink, brush and light brown wash, 21.2 x 24.8 cm. The Metropolitan Museum of Art, New York. Baroque. 410. Guercino (Giovanni Francesco Barbieri), 1591-1666, Italian, Moses Breaking the Tablets of Law, date unknown. Pen and brown ink and brown wash. Galleria degli Uffizi, Florence. Baroque.

219

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/12/2013 12/16/20139:10 4:28 AM PMPage Page 220 220

411

412

411. Govaert Flinck, 1615-1660, Dutch, Joseph in Prison Interpreting the Dreams of Pharaoh’s Baker and Butler, c. 1639. Pen and brown ink and traces of white chalk, 11.4 x 13.5 cm. J. Paul Getty Museum, Los Angeles. Baroque.

412. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Joseph in Prison Interpreting the Dreams of Pharaoh’s Baker and Butler (detail), c. 1639. Pen and brown ink on two pieces of paper, 20 x 18.7 cm. J. Paul Getty Museum, Los Angeles. Baroque.

413. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Return of the Prodigal Son, c. 1642. Pen and brown ink, wash and white highlights on paper, 19.1 x 22.7 cm. Teylers Museum, Haarlem. Baroque.

414. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Lion Resting, c. 1640-1652. Pen and brown ink on paper, 13.8 x 20.4 cm. Musée du Louvre, Paris. Baroque.

220

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:14 4:28 PM PMPage Page 221 221

— 17 CENTURY — TH

413

414

221

D_The Book Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/11/2013 4:14 PM Page 222

415

222

Drawings_17th_ENG_P-OK(P-5)_13 Dec12013_Layout 1 12/16/2013 D_The Book Drawings_17th_4C_23 Oct 2013_Layout 3/20/2014 3:46 PM Page 4:28 223 PM Page 223

— 17 CENTURY — TH

416 417

415. Diego Velázquez, 1599-1660, Spanish, Portrait of Cardinal Borja, c. 1643-1645. Black pencil, 18.8 x 11.6 cm. Real Academia de Bellas Artes de San Fernando, Madrid. Baroque.

416. Claude Lorrain (Claude Gellée), 1600-1682, French, Landscape with Lowland Plain in the Vicinity of Rome, c. 1638 Pen and brush in brown ink, 19.6 x 30.5 cm Musée du Louvre, Paris. Classicism.

417. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Portrait of Cornelis Claesz Anslo, 1640. Pen and brown ink, brown and grey wash, red chalk and white highlights, 24.6 x 20.1 cm. Musée du Louvre, Paris. Baroque.

418. Claude Lorrain (Claude Gellée), 1600-1682, French, The Colosseum, c. 1635-1640. Black chalk, pen and brush in brown ink and grey wash on paper, 19.2 x 26.2 cm. Teylers Museum, Haarlem. Classicism.

223

D_The Book Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/11/2013 4:14 PM Page 224

418

224

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/12/2013 12/16/20133:41 4:28 PM PMPage Page 225 225

— 17 CENTURY — TH

225

D_The Book Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/13/2013 10:01 AM Page 226

419 421

420

422

226

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:15 4:28 PM PMPage Page 227 227

— 17 CENTURY — TH

423

424

425

419. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Christ on the Cross, date unknown. Pen and ink on paper. Private collection. Baroque. 420. Pietro da Cortona (Pietro Berrettini), 1596-1669, Italian, Bust of a Young Man, date unknown. Black chalk on paper. Galleria degli Uffizi, Florence. Baroque. 421. Claude Lorrain (Claude Gellée), 1600-1682, French, Cabins on Lake Nemi, c. 1640. Ink and wash on paper, 28 x 20.5 cm. Teylers Museum, Haarlem. Classicism. 422. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, The Healing of Saint Peter’s Mother-in-Law, late 1650s. Pen and ink and wash on paper, 17.1 x 18.9 cm. Fondation Custodia, Paris. Baroque. 423. Gian Lorenzo Bernini, 1598-1680, Italian, Allegory of the Nile, c. 1647. Red chalk and white lead on paper, 52.7 x 38.6 cm. Galleria degli Uffizi, Florence. Baroque. 424. Pietro da Cortona (Pietro Berrettini), 1596-1669, Italian, Apotheosis of Saint Fermin, date unknown. Red chalk and stump, sanguine wash and brown wash, heightened in white, 26.9 x 21.2 cm. Musée du Louvre, Paris. Baroque. 425. Jan Lievens, 1607-1674, Dutch, Self-Portrait with a Beret, date unknown. Black chalk on vellum, 17.2 x 14.6 cm. Nationalmuseum, Stockholm. Baroque.

227

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 3/12/2014 4:15 1:51PM PM Page Page228 228

426

426. Pietro da Cortona (Pietro Berrettini), 1596-1669, Italian, The Return of Hagar, 1647. Black chalk, 27.3 x 33.9 cm. Musée du Louvre, Paris. Baroque. 427

428

427. Bartolomé Esteban Murillo, 1617-1682, Spanish, The Assumption of the Virgin, date unknown. Brush and brown ink, 21.5 x 19.7 cm. Hamburger Kunsthalle, Hamburg. Baroque.

428. Alonso Cano, 1601-1667, Spanish, Altar of Saint Catherine of Alexandria, 1650-1653. Pen, brown ink and brown wash over charcoal, 33.2 x 19 cm. Hamburger Kunsthalle, Hamburg. Baroque.

429. Charles Le Brun, 1619-1690, French, Study for Mucius Scaevola Before Porsena, date unknown. Red chalk on brown paper, 40.2 x 24.4 cm. Schlossmuseum, Weimar. Baroque.

BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617-1682) Painter and draughtsman, Murillo began his art studies under Juan del Castillo, with some influence from Zurbarán. He painted in Seville, especially religious themes such as the Immaculate Conception, illustrating the doctrines of the Counter-Reformation. Although he was one of the greatest portrait painters of his time, his fame was established by painting genre scenes of beggar children. He founded the Seville Academy with Valdés Leal and Francisco Herrera the Younger, and became its first president. He excelled in the painting of clouds, flowers, water and drapery, and in the use of colour. His painting served as an example to such artists as Gainsborough, Reynolds and Greuze.

228

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:16 4:28 PM PMPage Page 229 229

— 17 CENTURY — TH

429

229

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:16 4:28 PM PMPage Page 230 230

430

430. Willem van de Velde the Elder, 1611-1693, Dutch, Dutch Ships on a Harbour, date unknown. Pen and brown ink, brush and grey wash, on vellum, 29.5 x 48.5 cm. The Metropolitan Museum of Art, New York. Baroque.

230

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:17 4:28 PM PMPage Page 231 231

— 17 CENTURY — TH

231

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:17 4:28 PM PMPage Page 232 232

431

431. Salvator Rosa, 1615-1673, Italian, Fortune, date unknown. Black and red chalk. Galleria degli Uffizi, Florence. Baroque.

432

432. Charles Le Brun, 1619-1690, French, The Apotheosis of Hercules, c. 1650. Black chalk, pen and brown ink, brown, sanguine and white wash on beige paper, 32.6 x 46 cm. Musée du Louvre, Paris. Baroque.

232

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:17 4:28 PM PMPage Page 233 233

— 17 CENTURY — TH

433

433. Nicolaes Berchem, 1621/1622-1683, Dutch, Italian Landscape with a Traveller and a Shepherd, 1656-1667. Black chalk and brown and grey wash on paper, 18.6 x 25.7 cm. Pushkin Museum, Moscow. Baroque.

434

434. Salvator Rosa, 1615-1673, Italian, Landscape, date unknown. Pen and ink and wash. Galleria degli Uffizi, Florence. Baroque.

233

D_The Book Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/12/2013 9:36 AM Page 234

435

437

234

436

Drawings_17th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 D_The Book Drawings_17th_4C_23 Oct 2013_Layout 10/20/2014 14:18 PM Page4:28 235PM Page 235

— 17 CENTURY — TH

438

439

435. Paulus Potter, 1625-1654, Dutch, Self-Portrait, date unknown. Black chalk, 18.8 x 14.5 cm. Nationalmuseum, Stockholm. Baroque.

436. Salvator Rosa, 1615-1673, Italian, Shepherd Kneeling, Half-Nude, date unknown. Black chalk. Galleria degli Uffizi, Florence. Baroque.

437. Juan de Valdés Leal, 1622-1690, Spanish, The Head of Saint John the Baptist, 1658-1660. Charcoal, 16.3 x 23 cm. Hamburger Kunsthalle, Hamburg. Baroque.

438. Jan van Goyen, 1596-1656, Dutch, River Landscape, 1652. Black chalk, 12 x 19.7 cm. The State Hermitage Museum, St Petersburg. Baroque.

439. After Frans Hals (1580-1666), Dutch, Portrait of an Unknown Man in a Tall Hat, c. 1655-1700. Black chalk on paper, 19.2 x 15.3 cm. British Museum, London. Baroque.

235

D_The Book Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/11/2013 4:17 PM Page 236

440

236

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:17 4:28 PM PMPage Page 237 237

— 17 CENTURY — TH

441

442

441. Cornelis Bega, 1631-1664, Dutch, Boy Sitting Down, date unknown. Black and white chalk on paper, 34.9 x 19.2 cm. The State Hermitage Museum, St Petersburg. Baroque.

442. Rembrandt Harmensz van Rijn, 1606-1669, Dutch, Shah Jahan and Dara Shikoh, c. 1654-1656. Pen and brown ink and brown wash, heightened with white wash on Japanese paper, 21.3 x 17.8 cm. J. Paul Getty Museum, Los Angeles. Baroque.

443

440. Cornelis Bega, 1631-1664, Dutch, Woman with a Tuft of Wool, date unknown. Red chalk on paper, 17.2 x 13.7 cm. Pushkin Museum, Moscow. Baroque.

443. Adriaen van de Velde, 1636-1672, Dutch, Nude Man Sitting Down, date unknown. Red chalk, 30.8 x 20.9 cm. Nationalmuseum, Stockholm. Baroque.

237

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:18 4:28 PM PMPage Page 238 238

444

446

445

444. Pietro da Cortona (Pietro Berrettini), 1596-1669, Italian, Christ on the Cross with the Virgin Mary, Mary Magdalene and Saint John the Evangelist, c. 1661. Pen and brown ink and grey wash over black chalk, heightened with white wash, 40.3 x 26.5 cm. J. Paul Getty Museum, Los Angeles. Baroque. 445. Claude Lorrain (Claude Gellée), 1600-1682, French, Christ Before Pontius Pilate, c. 1670-1675. Black chalk, pen and ink on paper, 39.4 x 25.7 cm. Teylers Museum, Haarlem. Classicism. 446. Claude Lorrain (Claude Gellée), 1600-1682, French, Landscape with Dance (The Marriage of Isaac and Rebecca?), 1663. Pen, brown and grey wash, black chalk with white heightening on buff paper, 34.3 x 44.4 cm. Royal Collection Trust, London. Classicism. 447. Charles Le Brun, 1619-1690, French, Three Physiognomic Heads Inspired by Camels, c. 1670. Pen and black ink, brush, grey wash and white gouache, 22.7 x 32.8 cm. Musée du Louvre, Paris. Baroque. 448. Charles Le Brun, 1619-1690, French, Allegory in Honor of Cardinal Richelieu, date unknown. Black chalk, brush and black and grey wash, traces of red chalk, 37.3 x 74.9 cm. The Metropolitan Museum of Art, New York. Baroque.

238

D_The Book Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout 1 111/12/2013 AM 239 Drawings_17th_ENG_P-OK(P-5)_13 Dec 2013_Layout 12/16/20139:25 4:28 PMPage Page 239

— 17 CENTURY — TH

447 448

239

D_The Book Drawings_17th_4C_23 Oct 2013_Layout 1 10/20/2014 4:20 PM Page 240

449

450

240

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:19 4:28 PM PMPage Page 241 241

— 17 CENTURY — TH

451 452

449. Claude Lorrain (Claude Gellée), 1600-1682, French, Three Archers and a Figure with a Spear, c. 1670-1672. Pen and brown ink, brush and brown wash, over black chalk underdrawing, 15.9 x 23.5 cm. The Metropolitan Museum of Art, New York. Classicism.

450. Meyndert Hobbema, 1638-1709, Dutch, Rainy Landscape, date unknown. Black chalk on paper, 13 x 19 cm. The State Hermitage Museum, St Petersburg. Baroque.

451. Claude Lorrain (Claude Gellée), 1600-1682, French, Coast Scene with Perseus and the Origin of Coral, 1674. Pen and brown ink, brush with grey and blue gouaches, heightened with white on blue paper, 19.5 x 25.4 cm. British Museum, London. Classicism.

452. Adriaen van Ostade, 1610-1685, Dutch, Village Scene with Figures Outside a Cottage (detail), 1673. Pen and brown ink, watercolour, gum arabic and gouache, 26 x 22.1 cm. British Museum, London. Baroque.

241

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:19 4:28 PM PMPage Page 242 242

453

453. Luca Giordano, 1634-1705, Italian, Martyrdom of a Saint, date unknown. Black chalk. Galleria degli Uffizi, Florence. Baroque.

242

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/12/2013 12/16/20137:58 4:28 AM PMPage Page 243 243

— 17 CENTURY — TH

454

454. Luca Giordano, 1634-1705, Italian, Fishing Scene, date unknown. Pen and ink, wash. Galleria degli Uffizi, Florence. Baroque.

455. Charles Le Brun, 1619-1690, French, The Church Triumphs over Heresy or The Triumph of Religion, 1686. Black chalk, grey wash and traces of white gouache, 47.4 x 39.6 cm. Musée du Louvre, Paris. Baroque. 455

CHARLES LE BRUN (Paris, 1619-1690) Son of a sculptor, Le Brun was protected in his youth by Chancellor Séguier. A prodigy, he studied with grand masters including Simon Vouet (1590-1649) and became the court painter of Louis XIII. He also studied later with the widely praised Nicolas Poussin, and both had early success as accomplished painters. He spent four years in Italy with Poussin, whose classical influence took him away from Vouet’s Baroque. Back in France, Vouet advanced to be the King’s favourite painter and a pioneer in French Neoclassicism, virtually founded by Poussin. In 1648, Le Brun, together with Colbert, founded the Academy of Painting and Sculpture and the Academy of France in Rome. He worked several years to realise the decoration of Château de Versailles, especially Escaliers des Ambassadeurs (1674-1678), Galerie des Glaces and Salons de la Guerre et de la Paix (1684-1687). He was also in charge of Manufacture des Gobelins and royal collections. At his end of his life, he mainly painted religious themes.

243

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:19 4:28 PM PMPage Page 244 244

456

457 458

456. Matías de Torres, 1635-1711, Spanish, Christ Carrying the Cross, date unknown. Pen and brown ink and brown wash, 18.3 x 19.5 cm. Hamburger Kunsthalle, Hamburg. Baroque.

457. Michel Corneille the Younger, 1642-1708, French, Two Heads of Women, Head of a Man and a Hand, date unknown. Red chalk, black chalk and highlights with white chalk on paper, 21 x 23 cm. Schlossmuseum, Weimar. Baroque.

458. Cornelis Dusart, 1660-1704, Dutch, Peasant Counting, 1680s or 1690s. Black and red chalk on paper, 29.4 x 20.2 cm. Szépmu” vészeti Múzeum, Budapest. Baroque.

244

D_The Book Drawings_17th_ENG_P-OK(P-5)_13 Drawings_17th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/11/2013 12/16/20134:19 4:28 PM PMPage Page 245 245

— 17 CENTURY — TH

459

459. Anonymous, 17th century, French, The Statue of Louis XIV on Horseback by Girardon, date unknown. Pen and brown and black ink, highlights with white wash, 31 x 26.6 cm. Goethe-Nationalmuseum, Weimar. Baroque.

245

E_The Book Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/13/2013 9:36 AM Page 246

460

246

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:36 4:53 AM PMPage Page 247 247

18th Century

P

erhaps the best summary of European Enlightenment is the Encyclopédie, first published by Denis Diderot and Jean-Baptiste le Rond d’Alembert in 1751. It is the perfect statement of the era’s quest for knowledge based on reason. With a great number of collaborations from specialists of every field (including many of the most eminent intellectuals of the time), the Encyclopédie aimed to become a summary of all human knowledge, from philosophy to religion and from science to politics. In this context, it is very interesting to see what definition is given of the arts in general, and of drawing in particular. Despite the changes in human thought, the reader will see that, in the field of visual arts, the debt to Renaissance theory was still great: “DRAWING. The word ‘drawing’, when referred to as part of the art of painting, means two things: in the first place, the production of an artist made with the aid of a pencil or a pen. In a more general sense [...] it refers to the art of imitating the forms of objects presented before our eyes by means of lines. “It is in this sense that we refer to drawing as one of the essential parts of painting. This has given rise to bitter disputes in order to determine whether drawing or colour is superior. One will easily deduce that those who are more sensitive to the beauties of colour than to drawing, or he who is a friend of a colourist painter, will prefer that bright part of the art of painting; whereas those who feel differently, or who share the compromise of the draftsmen, will support the opposite party. [...] The imitation of nature, which is the aim of painting, strives to imitate the form of bodies and its colours. To decide whether drawing or colour is most essential to the art of painting is like trying to determine if it’s the soul or the body of man that most contributes to his existance. “In order to draw well, one needs to have precision in the organs he will use, and form them through habit, that is, through frequent drawing. “It is through drawing that one is introduced to the mysteries of painting [...].

“The first drawings one imitates are usually the ones that a skilled master has himself copied from nature. You draw each part of the body before drawing a full one; and you draw these parts big, so that you may know the details better. [...] “It is in these first attemps that a more precise, more accurate, and more profound idea of forms can be obtained, and it is to be hoped that young apprentices draw the bones of the human body following good anatomists or, better still, from nature itself. [...] “When the artist has managed to draw a nude figure well, he may dress it; then, place it with another, in a group: but it is necessary, above all, to repeat this exercise many times in order to acquire a reputation, and many times after that in order not to lose it. It is the draftsman’s continuous use of nature that gives him the liking for truth, which instinctivley touches and interests the least instructed spectators. The number of parts of the human body, and the variety of different movements one can give them form too many combinations for the imagination or memory to retain and represent them all. And even if this were possible, the other parts of painting would bring about new obstacles. Since the parts of painting are half-theoretical and halfpractical, deep thought and reasoning will mainly serve to acquire the first, and the habit of reiteration helps to continually fuel the others. [...] “One can employ different means for drawing, which are all good when they accomplish the objective one has proposed himself. You can draw with red chalk, with black chalk, with crayon, with pen and ink. For shading you can use brushes and stumps. [...] The art of drawing embraces a large quantity of parts [...]: the movement of a muscle, body weights, the perfect action, the proportions, the line, the passions, the groups. As for the word ‘sketch’, [they are] the drawings that are acknowledged as the artists’ first thought [...].” Claude-Henri Watelet, article written for the Encyclopédie, 1751

460. Antoine Watteau, 1684-1721, French, Sitting Persian, 1715. Red chalk and graphite on buff paper, 30 x 20 cm. Musée du Louvre, Paris. Rococo.

247

E_The Book Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/13/2013 9:37 AM Page 248

461

463

462

464

248

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:37 4:53 AM PMPage Page 249 249

— 18 CENTURY — TH

465

466

461. Antoine Watteau, 1684-1721, French, Studies of Three Women (detail), c. 1716-1717. Red, black and white chalk, 26.8 x 32.7 cm. J. Paul Getty Museum, Los Angeles. Rococo.

462. Antoine Watteau, 1684-1721, French, Man Standing, 1715. Red and black chalk, 32 x 20.1 cm. Fondation Custodia, Paris. Rococo.

463. Antoine Watteau, 1684-1721, French, Seated Man, date unknown. Chalk on paper. Galleria degli Uffizi, Florence. Rococo.

464. Antoine Watteau, 1684-1721, French, Two Dancers, date unknown. Red, black and white chalk, 26.8 x 22.9 cm. Goethe-Nationalmuseum, Weimar. Rococo.

465. Antoine Watteau, 1684-1721, French, Study for a Satyr About to Attack, c. 1717. Red, black and white chalk on brownish paper, 10.8 x 21.2 cm. Fondation Custodia, Paris. Rococo.

466. Antoine Watteau, 1684-1721, French, Head of a Man, c. 1718. Red and black chalk, 14.9 x 13.1 cm. The Metropolitan Museum of Art, New York. Rococo.

249

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:37 4:53 AM PMPage Page 250 250

467

469

468

ANTOINE WATTEAU (Valenciennes, 1684 - Nogent-sur-Marne, 1721) Watteau incarnates all the grace, all the intelligence, all the poetry of the 18th century, when French tastes were triumphant throughout the whole of Europe. He is well known as one of the key figures of Rococo art. He arrived in Paris around 1702, where he worked with Gillot, who gave him the interest in scenes of everyday life and theatrical costumes. There he also had access to the gallery of the Luxembourg palace painted by Rubens, who had a great influence on him, more by the subject he painted than by his style, meaning the idea of the fêtes galantes. Watteau’s paintings being of such a new type, he acquired in 1717 a new title given to him by the Academy, peintre de fêtes galantes, created expressly for him. Surprisingly, had he not existed, things would doubtless have been no different in the realm of painting. We would, no doubt, have seen the development of the same decorative taste, the same bright, clear painting with amorous nudes and agreeable mythological subjects. His world is indeed highly artificial, depicting some melancholy under apparent frivolity, reflecting the deep sense of love beyond the pleasure of the flesh, the enigmatic atmosphere brooding over his landscapes – tall trees in parks and glades with marble fountains and statues – and the drooping glance of lovers’ eyes. He alone possessed that genius for colour which conveys a sense of softness and mystery even in brilliant light, a sense of music everywhere; that vigorous draughtsmanship which proclaims him equal to the greatest; that natural poetry arising from the dreams.

250

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Dec12013_Layout 1 8/18/2014 Drawings_18th_4C_23 Oct 2013_Layout 8/14/2014 8:40 AM Page1:09 251PM Page 251

— 18 CENTURY — TH

470 471

467. Antoine Watteau, 1684-1721, French, A Lute Player, date unknown. Pencil on paper. Musée Condé, Chantilly. Rococo.

468. Giovanni Battista Piazzetta, 1682-1754, Italian, Lute Player, date unknown. Chalk on paper. Museo Horne, Florence. Rococo.

469. Antoine Watteau, 1684-1721, French, Seated Young Woman, c. 1719. Black, red, and white chalk on buff paper, 25.5 x 17.2 cm. The Morgan Library and Museum, New York. Rococo.

470. Antoine Watteau, 1684-1721, French, Woman Lying in a Chaise Longue, c. 1718. Red and black chalk and stumping, 21.7 x 31.1 cm. Fondation Custodia, Paris. Rococo.

471. Thomas Gainsborough, 1727-1788, British, Study of Burdock Leaves, date unknown. Black chalk on paper, 13.8 x 18.6 cm. British Museum, London. Rococo.

251

Drawings_18th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/19/2013 E_The Book Drawings_18th_4C_23 Oct 2013_Layout 10/20/2014 14:31 PM Page1:24 252PM Page 252

472

472. François Boucher, 1703-1770, French, Diana Sleeping, before 1735. Red chalk on paper, 23.2 x 37.8 cm. École nationale supérieure des Beaux-Arts, Paris. Rococo.

473

473. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, The Libreria, Campanile and Piazzetta from the East, c. 1740. Pen and ink on paper, 22.6 x 37.4 cm. Royal Collection Trust, London. Rococo.

252

474. Jonathan Richardson Senior, 1665-1745, British, Self-Portrait, 1728. Black chalk, heightened with white chalk on blue paper, 44.2 x 29.5 cm. British Museum, London. Rococo.

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:38 4:53 AM PMPage Page 253 253

— 18 CENTURY — TH

474

253

E_The Book Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/13/2013 10:56 AM Page 254

254

475

476

477

478

479

480

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:39 4:53 AM PMPage Page 255 255

— 18 CENTURY — TH

481

482

481. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, An Altar in the North Transept of San Marco, c. 1735. Pen and ink on paper, 26.9 x 18.8 cm. Royal Collection Trust, London. Rococo.

482. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, The Crossing of San Marco, looking North, c. 1735. Pen and ink on paper, 27.2 x 18.8 cm. Royal Collection Trust, London. Rococo.

475. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, The Bacino Looking West on Ascension Day, c. 1734. Pen and ink on paper, 27 x 37.5 cm. Royal Collection Trust, London. Rococo. 476. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, The Grand Canal from the Fondamenta della Croce, c. 1734. Pen and dark ink on paper, 26.9 x 37.6 cm. Royal Collection Trust, London. Rococo. 477. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, Campo Santi Giovanni e Paolo, c. 1735-1740. Pen and ink on paper, 27.1 x 37.9 cm. Royal Collection Trust, London. Rococo. 478. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, San Giorgio Maggiore, c. 1735-1740. Pen and ink on paper, 26.8 x 37.7 cm. Royal Collection Trust, London. Rococo. 479. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, The Entrance to the Arsenale, c. 1740-1745. Pen and ink on paper, 27.1 x 37.4 cm. Royal Collection Trust, London. Rococo. 480. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, The Rialto Bridge from the South-West, c. 1740-1745. Pen and ink on paper, 26.6 x 36.7 cm. Royal Collection Trust, London. Rococo.

CANALETTO (Giovanni Antonio Canal) (Venice, 1697-1768) Canaletto began his career as a theatrical scene painter, like his father, in the Baroque tradition. Influenced by Giovanni Panini, he is specialised in vedute (views) of Venice, his birth place. Strong contrast between light and shadow is typical of this artist. Furthermore, if some of those views are purely topographical, others include festivals or ceremonial subjects. He also published, thanks to John Smith, his agent, a series of etchings of Cappricci. His main purchasers were British aristocracy because his views reminded them of their Grand Tour. In his paintings, geometrical perspective and colours are structuring. Canaletto spent ten years in England. John Smith sold Canaletto’s works to George III, creating the major part of the Royal Canaletto Collection. His greatest works influenced landscape painting in the 19th century.

255

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:39 4:53 AM PMPage Page 256 256

483

484

483. Jean-Marc Nattier, 1685-1766, French, Portrait of Madame Marsollier and Her Daughter, date unknown. Black chalk, stump and highlights with white chalk on paper, 42.8 x 32.4 cm. Schlossmuseum, Weimar. Rococo.

484. François Boucher, 1703-1770, French, Two Young Women Standing (studies for Molière’s The Amorous Quarrel), date unknown. Black chalk, 30.3 x 21.7 cm. Schlossmuseum, Weimar. Rococo.

FRANÇOIS BOUCHER (Paris, 1703-1770) Boucher is typical of the artist whose ambitions are clearly defined and exactly proportioned to his capacity: he desired to please his contemporaries, to decorate walls and ceilings for them, and, in his better moments, realised perfectly what he set out to do. Thus it is he who best sums up the taste of the 18th century. He played, mutatis mutandis, and with all the differences implied by the very names of the two sovereigns, Louis XIV –le roi soleil– and Louis XV –le bien aimé–, a role similar to that of Le Brun. He had decorative genius and the gift of composition: facile, elegant, and always perfectly balanced. He bore the weight of an immense output, illustrating a book, or finishing off a fan as aptly as he rumpled the draperies of complaisant goddesses or peopled sky and wave with rosy and golden nudes. As a decorator he had gifts in no way inferior to those of his fascinating contemporary Tiepolo; he could also paint excellent portraits or render intimate scenes with brilliance and deftness.

486. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, The Torre dell’Orologio and Part of San Marco, c. 1740-1745. Pen and ink on paper, 27 x 37.5 cm. Royal Collection Trust, London. Rococo.

485

485. François Boucher, 1703-1770, French, A Triton with a Clam in His Hands, date unknown. Black chalk, highlights with white chalk, 32.8 x 29.7 cm. Schlossmuseum, Weimar. Rococo.

256

487. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, The Piazza, Looking North-East from the Procuratie Nuove, c. 1745. Pen, ink and wash on paper, 19.7 x 28 cm. Royal Collection Trust, London. Rococo.

E_The Book Drawings_18th_ENG_A-OK_23 Drawings_18th_ENG_P-OK(P-5)_13 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/201310:51 4:53AM PM Page Page257 257

— 18 CENTURY — TH

486

487

257

E_The Book Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/14/2013 9:24 AM Page 258

488

258

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20134:50 4:53 PM PMPage Page 259 259

— 18 CENTURY — TH

489

490

489. Giovanni Battista Tiepolo, 1696-1770, Italian, Standing Man, Turned to the Left, c. 1742-1757. Pen and brown ink and brown wash on paper, 19.3 x 11.6 cm. The Metropolitan Museum of Art, New York. Rococo.

490. Pompeo Batoni, 1708-1787, Italian, Seated Nude, date unknown. Black pencil heightened in white on blue paper, 53 x 35.9 cm. Staatliche Museen zu Berlin, Berlin. Rococo.

GIOVANNI BATTISTA TIEPOLO (Venice, 1696 - Madrid, 1770)

488. François Boucher, 1703-1770, French, Standing Woman Seen from Behind, c. 1742. Black, red, and white chalk, with stumping, on paper, 35.3 x 19.9 cm. Fondation Custodia, Paris. Rococo.

Giovanni Battista (Giambattista) Tiepolo was the last of the great Venetian decorators and the purest master of the Italian Rococo. He was a prodigy, a pupil of Gregorio Lazzarini, but already by age twenty-one he was established as a painter in Venice. He was an Italian artist of large-scale frescos, such as for the Residence in Würzburg and the Palacio Real in Madrid, both of which he did with his sons, Giovanni Dominico and Lorenzo, when he was in his fifties. In 1755, after his return from Würzburg, he was elected the first President of the Venetian Academy, before leaving for Spain, where he died.

259

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:39 4:53 AM PMPage Page 260 260

491

492

493

491. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, The Campanile under Repair, c. 1745. Pen, ink and wash on paper, 42.5 x 29.2 cm. Royal Collection Trust, London. Rococo.

492. Giovanni Battista Tiepolo, 1696-1770, Italian, Study for the Head of Saint Agatha, date unknown. Red chalk and highlights in white chalk on blue paper, 29.6 x 19.4 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Rococo.

493. Pompeo Batoni, 1708-1787, Italian, Allegory in Honour of Pope Benedict XIV, c. 1745. Red chalk, highlighted with white, on beige paper, 36 x 24.9 cm. The Metropolitan Museum of Art, New York. Rococo.

494. Carle Vanloo, 1705-1765, French, Study of a Lying Man, date unknown. Red chalk, 26.4 x 38 cm. Schlossmuseum, Weimar. Rococo.

495. François Boucher, 1703-1770, French, Naiads and Triton, date unknown. Black, red, and white chalk on paper, 29.3 x 47 cm. Musée du Louvre, Paris. Rococo.

260

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:40 4:53 AM PMPage Page 261 261

— 18 CENTURY — TH

494

495

261

E_The Book Drawings_18th_4C_23 Oct 2013_Layout 1 3/20/2014 3:45 PM Page 262

496

497

262

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:41 4:53 AM PMPage Page 263 263

— 18 CENTURY — TH

498

499

500

496. Adrien Manglard, 1695-1760, French, Large Three-Masted Ship in a Port, date unknown. Red chalk, 23.6 x 33.2 cm. Schlossmuseum, Weimar. Baroque.

497. Bernardo Bellotto, 1722-1780, Italian, Bridge with a City in the Background, date unknown. Pen and brown ink, 21.5 x 29.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Rococo.

498. Giovanni Battista Tiepolo, 1696-1770, Italian, Head of a Man Looking Up, c. 1750-1760. Red and white chalk on blue paper, 21.8 x 15.2 cm. J. Paul Getty Museum, Los Angeles. Rococo.

499. Jacques Dumont, ‘le Romain’, 1701-1781, French, Head of a Young Man, date unknown. Red chalk, 26.5 x 22.5 cm. Goethe-Nationalmuseum, Weimar. Rococo.

500. Giovanni Battista Tiepolo, 1696-1770, Italian, Martyrdom of a Saint, date unknown. Brush and ink, wash. Galleria degli Uffizi, Florence. Rococo.

263

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:41 4:53 AM PMPage Page 264 264

501

501. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, Warwick Castle: The East Front, 1752. Pen and brown ink, and grey wash, 31.6 x 56.2 cm. The Metropolitan Museum of Art, New York. Rococo.

264

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:41 4:53 AM PMPage Page 265 265

— 18 CENTURY — TH

265

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 3/12/2014 9:41 2:01AM PM Page Page266 266

502

502. Canaletto (Giovanni Antonio Canal), 1697-1768, Italian, A Capriccio with a Monumental Staircase, c. 1755-1760 (?). Pen, ink and wash on paper, 36.3 x 53.1 cm. Royal Collection Trust, London. Rococo.

503. Jean-Honoré Fragonard, 1732-1806, French, Gardens of the Villa d’Este in Tivoli, c. 1760. Red chalk on paper, 35 x 48.7 cm. Musée des Beaux-Arts et d’Archéologie, Besançon. Rococo. 504. Thomas Gainsborough, 1727-1788, British, Wooded Landscape with Wagon in a Glade, 1760-1765. Black chalk and watercolour on paper, 23.7 x 31.7 cm. British Museum, London. Rococo.

266

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:41 4:53 AM PMPage Page 267 267

— 18 CENTURY — TH

503

504

267

E_The Book Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/13/2013 9:41 AM Page 268

505 506

268

E_The Book Drawings_18th_ENG_A-OK_23 Drawings_18th_ENG_P-OK(P-5)_13 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/201311:15 4:53AM PM Page Page269 269

— 18 CENTURY — TH

507

508

505. Hubert Robert, 1733-1808, French, Transport of Marble Columns, date unknown. Watercolour over traces of black chalk, 26.1 x 39.8 cm. Schlossmuseum, Weimar. Rococo.

506. Francesco Casanova, 1727-1803, Italian, Battle Scene, date unknown. White, red and black wash on paper, 28.7 x 46.6 cm. Schlossmuseum, Weimar. Rococo.

507. Francesco Guardi, 1712-1793, Italian, Fire in the Oils Deposit in San Marcuola, date unknown. Pen and ink, and wash, on paper, 30.9 x 44.8 cm. Museo Correr, Venice. Rococo.

508. Francesco Guardi, 1712-1793, Italian, Castello Cogolo with Tower, date unknown. Pen and ink on paper, 24.8 x 19 cm. Museo Correr, Venice. Rococo.

269

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:42 4:53 AM PMPage Page 270 270

509

510

509. Jean-Baptiste Greuze, 1725-1805, French, Head of an Old Man (study for A Marriage Contract), 1761. Red and black chalk with grey wash, 55.6 x 39.4 cm. Yale University Art Gallery, New Haven. Rococo.

510. Jean-Baptiste Greuze, 1725-1805, French, Head of a Woman, date unknown. Red chalk counterproof, 35.8 x 25.8 cm. Schlossmuseum, Weimar. Rococo.

JEAN-BAPTISTE GREUZE (Tournus, 1725 - Paris, 1805) Greuze is without question one of the most important painters of the French school of the 18th century. He possessed a unique asset: he created his own style – sentimental and melodramatic genre scenes. Very early in his career his work was praised by the critics, such as Diderot, who talked about ‘morality in paint’. While L’Accordée de village, where every detail is like an actor playing a part, seems borrowed from some comédie-larmoyante or contemporary melodrama, much of Greuze’s later work consisted of titillating pictures of young women, which contain thinly veiled sexual allusions under their surface appearance of mawkish innocence. The end of the century saw the end of his career as his reception piece was not accepted by the academy in 1769 and a new glorified style was appearing, carried out by Jacques-Louis David: Neoclassicism.

270

511. Hubert Robert, 1733-1808, French, Artist Sketching a Young Girl, date unknown. Red chalk, 25.5 x 33.8 cm. The Metropolitan Museum of Art, New York. Rococo.

512. Hubert Robert, 1733-1808, French, Ruins at the Sea Near Naples: the “Scola di Virgilio”, 1760. Red chalk, 33.5 x 45.6 cm. Yale University Art Gallery, New Haven. Rococo.

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:46 4:53 AM PMPage Page 271 271

— 18 CENTURY — TH

511

512

271

E_The Book Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/13/2013 9:46 AM Page 272

513

514

272

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:46 4:53 AM PMPage Page 273 273

— 18 CENTURY — TH

515 516

513. Charles Joseph Natoire, 1700-1777, French, View of Santi Giovanni e Paolo in Rome, 1757. Brush and grey ink, grey and brown wash, heightened with white wash on blue paper, 23.3 x 35 cm. Fondation Custodia, Paris. Rococo.

514. François Boucher, 1703-1770, French, View of a Rustic House, c. 1760. Black chalk and stumping, white chalk, black pastel, and grey wash on blue paper, 23 x 35.5 cm. Fondation Custodia, Paris. Rococo.

515. Hubert Robert, 1733-1808, French, A Port Adorned with Architecture, date unknown. Black chalk, pen and ink, and brown and grey wash, 39.1 x 53.7 cm. Schlossmuseum, Weimar. Rococo.

516. Francesco Guardi, 1712-1793, Italian, View of Venice, date unknown. Pen and ink, wash. Galleria degli Uffizi, Florence. Rococo.

273

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 3/12/2014 11:45 3:53 PM AM Page Page 274 274

517

518

517. Thomas Gainsborough, 1727-1788, British, The Music Party, c. 1765-1770. Red chalk and stump on paper, 24.1 x 32.4 cm. British Museum, London. Rococo.

518. Thomas Gainsborough, 1727-1788, British, Wooded Landscape with Boy Reclining in a Cart, c. 1765-1770. Pen and brown ink, with grey and brown wash on paper, 17.6 x 22.1 cm. British Museum, London. Rococo.

519. Jean-Baptiste Greuze, 1725-1805, French, Domestic Scene, date unknown. Pen and brown ink, grey and brown wash, over black chalk, 33 x 50.8 cm. The Metropolitan Museum of Art, New York. Rococo.

520. Jean-Honoré Fragonard, 1732-1806, French, My Shirt Burns, date unknown. Brown wash over black chalk, 24.4 x 37.1 cm. Musée du Louvre, Paris. Rococo.

274

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:47 4:53 AM PMPage Page 275 275

— 18 CENTURY — TH

519

520

275

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 3/12/2014 9:47 2:01AM PM Page Page276 276

521

522

523

521. Jean-Honoré Fragonard, 1732-1806, French, Alcine Meets Ruggiero in Her Bedroom (illustration of Ariosto’s Orlando Furioso), c. 1770s-1780s. Charcoal and wash on paper, 38.5 x 23.5 cm. Private collection. Rococo.

522. Jean-Honoré Fragonard, 1732-1806, French, Ruggiero Rides the Hippogryph (illustration of Ariosto’s Orlando Furioso), c. 1770s-1780s. Black chalk and wash on paper, 39.5 x 26.1 cm. Private collection, Paris. Rococo.

523. Henry Fuseli, 1741-1825, Swiss, The Punishment of the Thieves, 1772. Pencil and ink wash on paper, 46 x 61.2 cm. Grafische Sammlung, Kunsthaus Zürich, Zurich. Romanticism.

276

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 Drawings_18th_4C_23 Oct 2013_Layout 10/20/2014 14:34 PM Page4:53 277PM Page 277

— 18 CENTURY — TH

524

524. Thomas Gainsborough, 1727-1788, British, Hilly Landscape with Village Among the Trees, date unknown. Black chalk and stump and pale red wash, 27.9 x 38.1 cm. The Corsham Court Collection, Wiltshire. Rococo.

THOMAS GAINSBOROUGH

525. Thomas Gainsborough, 1727-1788, British, Studies of Girls Carrying Faggots, c. 1780. Black chalk and stump, heightened with white chalk, on off-white laid paper, inset with another paper, 39.5 x 34.9 cm. Yale Center for British Art, New Haven. Rococo. 525

(Sudbury, 1727 - London, 1788)

Thomas Gainsborough, four years younger than Reynolds, rivalled him in fame. He had nothing of the theorist, the teacher, the leader of a school, and he never thought of combining in his art skilful borrowings from the greatest artists of various foreign schools. Unlike Reynolds, he never left England and, after several years of apprenticeship in London, spent the greater part of his life successively at Sudbury, Ipswich and Bath. Gainsborough is not an impeccable draughtsman, his compositions are not skilfully balanced like those of Reynolds, and his figures often seem disposed haphazardly on the canvas. But he has charm. He is a poet, and a poet by instinct, quivering with sensitivity, capricious and fantastic but always natural. Although he painted some good portraits of men, he is, par excellence, the painter of women and children. A profound admirer of Van Dyck – he took him for a model – this admiration does not detract from his originality, which has a unique quality of seductiveness. On Van Dyck’s themes, such as that of the boy clad in costly satin, or a woman’s face, long and delicate in its aristocratic grace, he composed entirely new variations.

277

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 3/12/2014 9:47 2:01AM PM Page Page278 278

526

526. Jean-Honoré Fragonard, 1732-1806, French, The Dreamer, 1770s. Brush, brown ink and watercolour, 30.8 x 20.6 cm. Museum of Fine Arts, Boston. Rococo.

278

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 3/12/2014 9:47 2:01AM PM Page Page279 279

— 18 CENTURY — TH

527

527. Henry Fuseli, 1741-1825, Swiss, Young Man Sitting in a Storm, 1774. Brush and grey ink over pencil, and red wash, 37.3 x 52.8 cm. Museum der Bildenden Künste, Leipzig. Romanticism. 528

528. Jean-Honoré Fragonard, 1732-1806, French, Danaë Visited by Jupiter, date unknown. Ink wash over charcoal, 24 x 37 cm. Villa et Jardins Ephrussi de Rothschild, Saint-Jean-Cap-Ferrat. Rococo.

279

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 3/12/2014 9:48 2:01AM PM Page Page280 280

529 530

529. Jacques-Louis David, 1748-1825, French, View of the Edge of the Tiber with the Temple of Vesta, c. 1775-1780. Brush and grey ink, grey wash over graphite pencil, 10.5 x 28.3 cm. Fondation Custodia, Paris. Neoclassicism.

530. Jean-Honoré Fragonard, 1732-1806, French, Don Quixote Attacking the Windmill (illustration for Cervantes’ Don Quixote), 1780s. Black chalk and wash on paper, 41.4 x 28.6 cm. National Gallery of Art, Washington, D.C. Rococo.

531. Louis Jean Desprez, 1743-1804, French, A Military Parade Before an Ancient City, date unknown. Pen and brown ink, and watercolour, 21.2 x 36.2 cm. Goethe-Nationalmuseum, Weimar. Neoclassicism.

532. Pierre Paul Prud’hon, 1758-1823, French, Violoncello Player, 1777-1778. Pen and black ink, and grey wash over graphite drawing, 20.9 x 13.2 cm. Fondation Custodia, Paris. Neoclassicism.

533. Louis Jean Desprez, 1743-1804, French, Vedius Pollio’s Slaves Are Thrown to the Lampreys, 1777-1779. Pen and grey ink, and watercolour over traces of black chalk, 22.2 x 15.1 cm. Fondation Custodia, Paris. Neoclassicism.

280

E_The Book Drawings_18th_ENG_A-OK_23 Drawings_18th_ENG_P-OK(P-5)_13 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20131:06 4:53 PM PMPage Page 281 281

— 18 CENTURY — TH

531 532

533

281

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 3/12/2014 9:50 2:01AM PM Page Page282 282

534

535

534. Jean-Honoré Fragonard, 1732-1806, French, Le Calendrier des vieillards, c. 1780. Brush and brown ink, and brown wash, 20 x 14.3 cm. Fondation Custodia, Paris. Rococo.

535. Jean-Honoré Fragonard, 1732-1806, French, À femme avare, galant escroc (“A Money-Minded Woman Meets Her Match”), c. 1780. Brush and brown ink, brown wash, 20.4 x 14 cm. Fondation Custodia, Paris. Rococo.

536

JEAN-HONORÉ FRAGONARD (Grasse, 1732 - Paris, 1806) Fragonard closes, with a burst of fireworks, the curve of the 18th century opened by Watteau with his fairy poems of love and melancholy. Watteau was ethereal and profound; Fragonard was merely light. He amuses us while amusing himself; he is never moved. He painted mainly fêtes-galantes in Rococo style. Pupil of François Boucher, Fragonard also studied under Chardin. Always remembering Boucher’s advice, he depicted romantic gardens, with their fountains, grottos, temples and terraces where one can also recognise the influence of Tiepolo. With King Louis XV as a patron, he turned himself towards the depiction of the pleasure-loving and licentious court, scenes of love and voluptuousness.

536. Henry Fuseli, 1741-1825, Swiss, After the Death of Abel, God Marks Cain, 1781. Black chalk, 63.7 x 53.5 cm. Grafische Sammlung, Kunsthaus Zürich, Zurich. Romanticism. 537. Benjamin West, 1738-1820, American, Maternity, 1784. Red chalk on thin off-white laid paper, mounted on off-white laid paper, 36.4 x 29.4 cm. The Metropolitan Museum of Art, New York. Rococo.

282

537

E_The Book Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/13/2013 9:50 AM Page 283

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:50 4:53 AM PMPage Page 284 284

538

539

BENJAMIN WEST

(Swarthmore, Pennsylvania, 1738 - London, 1820) In 1760, West was the first American to study art in Italy. During his three years there he was influenced by Titian and Raphael, as well as the contemporary art he saw there during the advent of the Neoclassical movement. He won the attention and praise of George III, who appointed him to be a charter member of the Royal Academy. He became president of the Royal Academy in 1792. He restored and reshaped Neoclassicism in historical paintings in France over a decade before David. Yet, he also earned the title, ‘Father of American Painting’, not due to his paintings, but because he taught influential American painters John Singleton Copley, Charles Peale, Gilbert Stuart, and John Trumbull, as well as talented men not best known as painters, including Robert Fulton and Samuel F.B. Morse. Although he never returned to the United States, he remained true to its heritage by rejecting the offer of knighthood. He is buried in St Paul’s Cathedral. 540

284

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 3/12/2014 9:50 2:00AM PM Page Page285 285

— 18 CENTURY — TH

541 542

538. Pierre-Alexandre Wille, 1748-1821, French, Standing Man Seen from Behind, date unknown. Red chalk on paper, 43.1 x 29.3 cm. Schlossmuseum, Weimar. Rococo.

539. Benjamin West, 1738-1820, American, Turkey, date unknown. Pen and brown ink on wove paper, 11.9 x 8.3 cm. The Metropolitan Museum of Art, New York. Rococo.

540. Jean-Honoré Fragonard, 1732-1806, French, Self-Portrait, Sitting in a Chair, 1789. Black chalk, d: 17 cm. Fondation Custodia, Paris. Rococo.

541. Anne Louis Girodet-Trioson, 1767-1824, French, Venus Offering Aeneas the Weapons Forged by Vulcan, date unknown. Pencil on paper, 22 x 31.5 cm. Schlossmuseum, Weimar. Neoclassicism.

542. Pierre-Alexandre Wille, 1748-1821, French, Head of a Young Woman, date unknown. Red chalk on paper, 33.1 x 27.6 cm. Schlossmuseum, Weimar. Rococo.

285

E_The Book Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/13/2013 9:50 AM Page 286

543

286

Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 111/13/2013 PM 287 E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Dec 2013_Layout 12/16/20131:15 4:53 PMPage Page 287

— 18 CENTURY — TH

545 546

544

543. Thomas Gainsborough, 1727-1788, British, Study of a Lady, c. 1785. Black and white chalk, some stumping, on light brown prepared paper, 49.5 x 31.1 cm. The Morgan Library and Museum, New York. Rococo. 544. Francisco de Goya, 1746-1828, Spanish, The Duchess of Alba Putting Up Her Hair (from Album A or Album of Sanlúcar), 1796. Brush and Indian ink with traces of black pencil on laid paper, 17.1 x 10.1 cm. Biblioteca Nacional de España, Madrid. Romanticism. 545. Francisco de Goya, 1746-1828, Spanish, Merry Caricature (from Album B or Album of Madrid), 1796-1797. Indian ink wash on laid paper, 23.2 x 14.2 cm. Museo Nacional del Prado, Madrid. Romanticism. 546. Giovanni Domenico Tiepolo, 1727-1804, Italian, Punchinello Is Helped to a Chair (detail), c. 1791. Pen and brown ink, ink wash, and black chalk, 35.4 x 47 cm. J. Paul Getty Museum, Los Angeles. Rococo.

287

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:51 4:53 AM PMPage Page 288 288

547 548

549

547. Francisco de Goya, 1746-1828, Spanish, Young Woman Bathing in a Fountain (from Album A or Album of Sanlúcar), 1796-1797. Brush and Indian ink on laid paper, 17.1 x 10.1 cm. Biblioteca Nacional de España, Madrid. Romanticism.

548. Francisco de Goya, 1746-1828, Spanish, Young Woman Dancing to a Guitar (from Album A or Album of Sanlúcar), 1794-1795. Indian ink wash on laid paper, 17.1 x 9.9 cm. Museo Nacional del Prado, Madrid. Romanticism.

549. Francisco de Goya, 1746-1828, Spanish, Máscaras Crueles (Cruel Masks) (from Album B or Album of Madrid), 1796-1797. Brush and black ink, and grey wash with scraping on laid paper, 23.7 x 15 cm. National Gallery of Art, Washington, D.C. Romanticism.

288

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout Dec 2013_Layout 1 111/13/2013 12/16/20139:52 4:53 AM PMPage Page 289 289

— 18 CENTURY — TH

550

550. Jacques-Louis David, 1748-1825, French, Portrait of André-Antoine Bernard, called Bernard de Saintes, 1795. Pen and brush with Indian ink and grey wash, heightened with white wash over graphite, d: 18.1 cm. J. Paul Getty Museum, Los Angeles. Neoclassicism.

289

E_The Book Drawings_18th_ENG_A-OK_23 Oct 2013_4C:Layout 1 11/13/2013 9:52 AM Page 290

551

290

E_The Book Drawings_18th_ENG_P-OK(P-5)_13 Dec12013_Layout 12/16/2013 Drawings_18th_4C_23 Oct 2013_Layout 10/20/2014 14:34 PM Page4:53 291PM Page 291

— 18 CENTURY — TH

552

552. John Constable, 1776-1837, British, Self-Portrait, c. 1799-1804. Pencil and chalk on paper, 24.8 x 19.4 cm. National Portrait Gallery, London. Romanticism.

553

553. Pierre Paul Prud’hon, 1758-1823, French, Andromache and Astyanax, c. 1798. Pen and grey ink with brush and brown wash over traces of black chalk, 29.8 x 21.9 cm. The Metropolitan Museum of Art, New York. Neoclassicism.

551. Pierre Paul Prud’hon, 1758-1823, French, Love Seduces Innocence, Pleasure Drags, Repentance Follows, date unknown. Black and white pencil and stumping on blue paper, 54.6 x 45.5 cm. Musée du Louvre, Paris. Neoclassicism.

554. William Blake, 1757-1827, British, The Parable of the Wise and Foolish Virgins, c. 1799-1800. Watercolour, pen, and black ink over graphite, 36 x 33.2 cm. The Metropolitan Museum of Art, New York. Romanticism. 554

WILLIAM BLAKE

(London, 1757-1827) Poet, draughtsman, engraver and painter, William Blake’s work is made up of several elements –Gothic art, Germanic reverie, the Bible, Milton and Shakespeare– to which were added Dante and a certain taste for linear designs, resembling geometric diagrams, and relates him to the great classical movement inspired by Winckelmann and propagated by David. This is the sole point of contact discernible between the classicism of David and English art, though furtive and indirect. Blake is the most mystic of the English painters, perhaps the only true mystic. He was ingenious in his inner imagination, and his interpretations of ancient and modern poets reveal as true and candid a spirit as the title of his first work –poems he composed, illustrated and set to music, Songs of Innocence and Experience. Later he achieved grandeur, power and profundity, especially in certain tempera paintings. Just like others, Blake was considered an eccentric by most of his contemporaries, until his genius was recognised in the second half of the 19th century.

291

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:118:46 AM AM Page Page 292292

555

555. William Blake, 1757-1827, British, The Punishment of the Thieves, 1824-1827. Chalk, ink and watercolour on paper, 37.2 x 52.7 cm. Tate Collection, London. Romanticism.

292

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 3/12/20149:11 2:18 AM PMPage Page 293 293

19th Century lthough academic theory continued to be the official authority on art in the 1800s, it would be in this century that its first real rivals would appear. Few opposed academicism more violently than the French poet Charles Baudelaire. Baudelaire is the perfect incarnation of the modern artist, a man with a bohemian lifestyle who has no other master than his imagination. Not only his message, but the way he delivers it, make Baudelaire’s commentary on art radically modern. His aim, more than to instruct, is to provoke, to shake the sound foundations of bourgeois culture. If Baudelaire was disgusted by traditional artistic values, it is not surprising to find out that drawing –as it had been understood since the Renaissance– was one of his main targets. The reader will see that Baudelaire advocates for a new kind of art, represented by, in his view, the unrivalled hero of modern painting, Eugène Delacroix:

A

“[...] We frequently want to know if the same man can be a great colourist and a great draftsman at the same time. “Yes and no; since there are different kinds of drawing. “The quality of a pure draftsman lies mainly in delicacy, and that delicacy excludes the stroke. [...] “Attentive to following and discovering line in its most secret ondulations, they [draftsmen] don’t have the time to observe air and light, that is, their effects, and they force themselves not to see them in order not to harm the principle of their school. [...] “The colourists draw like nature; their figures are naturally delimited by the harmonious light of the coloured masses. “Pure draftsmen are philosophers [...]. “Colourists are epic poets.” Charles Baudelaire, “Salon de 1846”

“[W]hen we say that a painting is well drawn, we do not mean that it is drawn like a Raphael; we mean that it is drawn in an improvised and spiritual way; that this type of drawing, which has its analogy in all the great colourists, Rubens, for example, perfectly captures the movement, the appearance, the evasive and trembling character of nature, that which the drawing of Raphael never does.” Charles Baudelaire, “Salon de 1845”

“In the preceding chapter, I did not talk of imaginative or creative drawing because this is generally a privilege of the colourists. [...] Pure draftsmen are naturalists gifted with an excellent sense; but they draw from reason, whereas the colourists, the great colourists, draw from temperament, almost without knowing it. Their method is the same as nature’s: they draw because they colour, and the pure draftsmen, if they wish to be logical and faithful to their profession, must conform themselves with the black crayon. They nevertheless dedicate themselves to colour with inconceivable ardour, and don’t perceive their contradictions. They begin by delimiting forms in a cruel and absolute manner, and later want to fill those spaces. This double method thwarts their efforts unceasingly [...]. It is an eternal process, a tiresome duality. A draftsman is a failed colourist.

“In truth, there is neither line nor colour in nature. It is man who creates line and colour. They are two abstractions whose nobility has the same origin. “A born-draftsman (I imagine a child) looks for certain curves in the immobile or moving nature, and from there he extracts a certain voluptousness which he takes pleasure in fixing through means of lines on paper, exaggerating or diminishing its inflexions with fancy; in this way he learns to to create contour, elegance, character in drawing.” Charles Baudelaire, L’oeuvre et la vie d’Eugène Delacroix, 1863

“He draws from memory, not from the model, except in the case [...] in which there is the urgent need for taking immediate, quick notes, and to lay down the main lines of a subject. In fact, all great and true draftsmen draw from the image written in their brains, not from nature. On seeing the admirable drawings of Raphael, Watteau and many others, we will say they are just notes, very meticulous, it is true, but pure notes. When a true artist comes to the definitive execution of his work, the model will be an obstacle rather than an aid.” Charles Baudelaire, Le peintre de la vie moderne, 1863

293

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:118:46 AM AM Page Page 294294

556

557

556. Giovanni Domenico Tiepolo, 1727-1804, Italian, The Burial of Punchinello, c. 1800. Pen and brown ink, brown and yellow wash, over black chalk, 35.3 x 47.3 cm. The Metropolitan Museum of Art, New York. Rococo.

557. Follower of Jean-Baptiste Greuze (1725-1805), French, Draped Female Figure, date unknown. Red chalk. Victoria and Albert Museum, London. Rococo.

558. Antoine Jean Baron Gros, 1771-1835, French, The Fire of Moscow, date unknown. Pen and ink, black pencil, Indian ink wash, and gouache, 57 x 84 cm. Musée du Louvre, Paris. Neoclassicism.

559. Jacques-Louis David, 1748-1825, French, Caricature of Mirabeau-Tonneau, date unknown. Pen, black and brown ink over black chalk, 17.4 x 10.8 cm. Musée du Louvre, Paris. Neoclassicism.

294

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:118:46 AM AM Page Page 295295

— 19 CENTURY — TH

558

559

JACQUES-LOUIS DAVID (Paris, 1748 - Brussels, 1825)

Celebrated nowadays as the Imperial Court Painter, David started his apprenticeship with Boucher and then with Joseph-Marie Vien, who was a famous painter renowned for his antique style. In 1774, David won the Prix de Rome, where he confirmed his passion for antique art. Back in Paris, in 1784, he painted his Oath of the Horatii, a perfect example of his Neoclassical style: a return to classical painting, to the line, but with something more rigid in the choice of the subjects, influenced by Roman behaviour, love of country and individual heroism. That is why he became the official painter of the French Revolution and its Roman ideals. His Death of Marat, showing Marat as a secular Christ, is a denunciation of CounterRevolutionary crime. However, David stayed the official painter of the Empire, executing the monumental Coronation of Napoleon after 1804, the finest official picture in the world, breathing life into a huge ceremonial composition, leaving the Greeks and Romans in order to paint the doings of his contemporaries. After the fall of the Empire, he left France for Belgium at the Restoration and finished his career there, still inspired by Antiquity but in a less didactic way. Master of a whole generation of academic painters like Gros, Ingres or Girodet, he thus had a great influence on the first half of 19th-century academic painting.

295

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:118:46 AM AM Page Page 296296

560

561

560. Henry Fuseli, 1741-1825, Swiss, Kriemhild Shows Hagen the Head of Gunther, 1805. Pencil and grey watercolour on paper, 48.8 x 38.7 cm. Grafische Sammlung, Kunsthaus Zürich, Zurich. Romanticism.

561. Henry Fuseli, 1741-1825, Swiss, Brunhild Watches Gunther Hanging from the Ceiling of Her Bedroom, 1807. Ink and wash, 48.3 x 31.7 cm. Nottingham Castle Museum and Art Gallery, Nottingham. Romanticism.

HENRY FUSELI

(Zürich, 1741 - London, 1825) An English painter and writer on art, of German-Swiss family, Fuseli was born in Zürich on 7 February 1741. His father was John Caspar Füssli, a painter. Fuseli’s father intended him for the church, and with this view sent him to the Caroline college of his native town, where he received an excellent classical education. After taking orders in 1761 Fuseli was obliged to leave his country in consequence of having aided the exposure of an unjust magistrate, whose family was still powerful enough to make its vengeance felt. He first travelled through Germany and then, in 1765, visited England. He became acquainted with Sir Joshua Reynolds, to whom he showed his drawings. On Sir Joshua’s advice he then devoted himself wholly to art. In 1770 he made an artistic pilgrimage to Italy, where he remained till 1778, changing his name from Füssli to Fuseli, as it sounded more Italian. Early in 1779 he returned to England via Zürich. He found a commission awaiting him from an Alderman Boydell, who was then organising his celebrated Shakespeare gallery. Fuseli painted a number of pieces for this patron. In 1788 Fuseli married Sophia Rawlins, and he soon after became an Associate of the Royal Academy. Later he was promoted to the grade of Academician, then Professor and Keeper. In 1799 he exhibited a series of paintings inspired by the works of Milton, with a view to forming a Milton gallery similar to Boydell’s Shakespeare gallery. This exhibition, which closed in 1800, proved a failure in regards to profit. The sculptor Canova, when on his visit to England, was much taken with Fuseli’s works, and on returning to Rome in 1817 caused him to be elected a member of the first class of the Academy of St. Luke. Fuseli, after a life of uninterrupted good health, died at Putney Hill, London, on 16 April 1825, at the advanced age of eighty-four, and was buried in the crypt of St Paul’s Cathedral.

296

562. Henry Fuseli, 1741-1825, Swiss, Brunhild Accuses Gunther and Hagen of the Assasination of Siegfried, Standing by His Corpse, in Worms Cathedral, 1805. Ink and wash, 36.5 x 47 cm. Grafische Sammlung, Kunsthaus Zürich, Zurich. Romanticism. 563. Jacques-Louis David, 17481825, French, The Arrival of Emperor Napoleon I at the Hôtel de Ville, 1805. Pen, black ink, grey wash, brown ink over graphite pencil, 26.2 x 40.8 cm. Musée du Louvre, Paris. Neoclassicism.

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 Drawings_19th_4C_04 Nov 2013_Layout 3/20/2014 1 3:59 PM Page 8:46 297 AM Page 297

— 19 CENTURY — TH

562

563

297

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:128:46 AM AM Page Page 298298

567. Francisco de Goya, 1746-1828, Spanish, No se puede mirar (This is too painful to look at) (from Album C or the Inquisition Album), c. 1810-1811. Brush and ink wash on laid paper, 20.5 x 14.2 cm. Museo Nacional del Prado, Madrid. Romanticism.

568. Francisco de Goya, 1746-1828, Spanish, Divina libertad (Divine Liberty) (from Album C or the Inquisition Album), c. 1812-1814. Brush and ink wash, and traces of pencil on laid paper, 20.5 x 14.3 cm. Museo Nacional del Prado, Madrid. Romanticism.

564. Francisco de Goya, 1746-1828, Spanish, Que crueldad (What Cruelty) (from Album C or the Inquisition Album), c. 1810-1811. Brush and ink wash on laid paper, 20.5 x 14.3 cm. Museo Nacional del Prado, Madrid. Romanticism. 564 565

566

565. William Blake, 1757-1827, British, The Lord Answers Job from the Whirlwind, 1805-1810. Pen, black ink, and wash over traces of graphite. The Morgan Library and Museum, New York. Romanticism.

566. Philipp Otto Runge, 1777-1810, German, The Huelsenbeck Children, 1805. Pen and black ink over pencil, 55.1 x 60 cm. Hamburger Kunsthalle, Hamburg. Romanticism.

298

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 10:54 8:46 AM AMPage Page 299 299

— 19 CENTURY — TH

567

568

FRANCISCO DE GOYA

(Fuendetodos, 1746 - Bordeaux, 1828) Goya is perhaps the most approachable of painters. His art, like his life, is an open book. He concealed nothing from his contemporaries, and offered his art to them with the same frankness. The entrance to his world is not barricaded with technical difficulties. He proved that if a man has the capacity to live and multiply his experiences, to fight and work, he can produce great art without classical decorum and traditional respectability. He was born in 1746, in Fuendetodos, a small mountain village of a hundred inhabitants. As a child he worked in the fields with his two brothers and his sister until his talent for drawing put an end to his misery. At fourteen, supported by a wealthy patron, he went to Saragossa to study with a court painter and later, when he was nineteen, on to Madrid. Up to his thirty-seventh year, if we leave out of account the tapestry cartoons of unheralded decorative quality and five small pictures, Goya painted nothing of any significance, but once in control of his refractory powers, he produced masterpieces with the speed of Rubens. His court appointment was followed by a decade of incessant activity – years of painting and scandal, with intervals of bad health. Goya’s etchings demonstrate a draughtsmanship of the first rank. In paint, like Velázquez, he is more or less dependent on the model, but not in the detached fashion of the expert in still-life. If a woman was ugly, he made her a despicable horror; if she was alluring, he dramatised her charm. He preferred to finish his portraits at one sitting and was a tyrant with his models. Like Velázquez, he concentrated on faces, but he drew his heads cunningly, and constructed them out of tones of transparent greys. Monstrous forms inhabit his black-and-white world: these are his most profoundly deliberated productions. His fantastic figures, as he called them, fill us with a sense of ignoble joy, aggravate our devilish instincts and delight us with the uncharitable ecstasies of destruction. His genius attained its highest point in his etchings on the horrors of war. When placed beside the work of Goya, other pictures of war pale into sentimental studies of cruelty. He avoided the scattered action of the battlefield, and confined himself to isolated scenes of butchery. Nowhere else did he display such mastery of form and movement, such dramatic gestures and appalling effects of light and darkness. In all directions, Goya renewed and innovated.

299

F_The Book Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/25/2013 8:52 AM Page 300

569

300

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:138:46 AM AM Page Page 301301

— 19 CENTURY — TH

570

571

569. Francisco de Goya, 1746-1828, Spanish, Rabbit Hunter with a Retriever (from the Images of Spain Album or Album F), c. 1812-1820. Brush and brown wash on laid paper, 20.7 x 14.7 cm. The Metropolitan Museum of Art, New York. Romanticism.

570. John Constable, 1776-1837, British, Warehouses and Shipping on the Orwell at Ipswich, 1803. Pencil and watercolour, 24.5 x 33.1 cm. Victoria and Albert Museum, London. Romanticism.

571. Théodore Géricault, 1791-1824, French, The Kidnapping of Fualdès, c. 1818. Pen and brown ink over traces of pencil, 20.9 x 26.6 cm. Musée du Louvre, Paris. Romanticism.

301

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 11:23 8:46 AM AMPage Page 302 302

572

573

572. Joseph Mallord William Turner, 1775-1851, British, Stonehenge at Daybreak, c. 1811. Brush and brown wash over graphite pencil on paper, 19.4 x 27 cm. Museum of Fine Arts, Boston. Romanticism.

573. Jean-Auguste-Dominique Ingres, 1780-1867, French, Nicolo Paganini, c. 1818-1831. Counterproof strengthened with graphite and white chalk on tracing paper, 24 x 18.5 cm. The Metropolitan Museum of Art, New York. Neoclassicism.

574. Théodore Géricault, 1791-1824, French, Study for The Raft of the Medusa, c. 1818. Pen and ink on paper, 20.1 x 28.1 cm. Musée des Beaux-Arts, Rouen. Romanticism.

302

Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/22/2013 4:048:46 PM AM Page 303303 F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 Page

— 19 CENTURY — TH

574

THÉODORE GÉRICAULT (Rouen, 1791 - Paris, 1824)

Jean Louis André Théodore Géricault, known more simply as Théodore Géricault, was born in Rouen in 1791. In 1808 he entered the studio of Charles Vernet, from where, in 1810, he moved to that of Guérin, whom he drove to despair with his passion for Rubens and the unorthodox manner in which he persisted in interpreting nature. At the Salon of 1812 Géricault attracted attention with his Officer of the Hussars, a work in which he depicted the cavalry in the hour of its triumph, and demonstrated the solid training received from Guérin in rendering a picturesque point of view which was in itself a protest against the cherished convictions of the neoclassical school. Two years later, in 1814, he re-exhibited this work accompanied by the reverse picture, The Wounded Cuirassier, and in both subjects drew attention to contemporary life, treated neglected types of living form, and exhibited that mastery of, and delight in, the horse that was such a feature of his work. Disconcerted by the tempest of contradictory opinion which arose over these two pictures, Géricault gave way to his enthusiasm for horses and soldiers and enrolled in the mousquetaires. During the Hundred Days he followed the king to Béthune, but, on his regiment being disbanded, he eagerly returned to his profession. He left France for Italy in 1816, and in Rome nobly depicted his favourite animal in his great painting Free Horses Racing in Rome. Returning to Paris, Géricault exhibited The Raft of the Medusa at the Salon of 1819. This subject not only enabled him to prove his zealous and scientific study of the human form, but contained those elements of the heroic and pathetic that existed in modern life, to which he had appealed in his earliest productions. Easily depressed or elated, Géricault took the hostility that this work excited to heart, and went on to spend nearly two years in London, where The Raft of the Medusa was exhibited with success, and where he executed many series of admirable lithographs, now rare. At the end of 1822 he was again in Paris, and produced a great quantity of projects for vast compositions, models in wax, and a flayed horse as a preliminary to an equestrian statue. His health was by then in decline due to various excesses, and on the 26 January 1824 he died at the age of thirty-three.

303

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:138:46 AM AM Page Page 304304

575

JOHN CONSTABLE

(East Bergholt, 1776 - Hampstead, 1837) John Constable was the first English landscape painter to take no lessons from the Dutch. He is rather indebted to Rubens, but his real model was Gainsborough, whose landscapes, with great trees planted in well-balanced masses on land sloping upwards towards the frame, have a rhythm often found in the Flemish master. Constable’s originality does not lie in his choice of subjects, which frequently repeated themes beloved by Gainsborough. Nevertheless, Constable seems to belong to a new century; he ushered in a new era. The difference in his approach results both from technique and feeling. Excepting the French, Constable was the first landscape painter to consider as a primary and essential task the sketch made direct from nature at a single sitting, an idea which contains in essence the destinies of modern landscape, and perhaps of most modern painting. It is this momentary impression of all things which will be the soul of the future work. Working at leisure upon the large canvas, an artist’s aim is to enrich and complete the sketch while retaining its pristine freshness. These are the two processes to which Constable devoted himself, while discovering the exuberant abundance of life in the simplest of country places. He had the palette of a creative colourist and a technique of vivid hatchings heralding that of the French impressionists. He audaciously and frankly introduced green into painting, the green of lush meadows, the green of summer foliage, all the greens which, until then, painters had refused to see except through bluish, yellow, or more often brown spectacles. Of the great landscape painters who occupied so important a place in 19th-century art, Corot was probably the only one to escape the influence of Constable. All the others are more or less direct descendants of the master of East Bergholt.

304

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:148:46 AM AM Page Page 305305

— 19 CENTURY — TH

576

577 578

575. John Constable, 1776-1837, British, Elm Trees in Old Hall Park, East Bergholt, 1817. Pencil, with traces of grey wash and white heightening, 59.1 x 49.5 cm. Victoria and Albert Museum, London. Romanticism.

576. Caspar David Friedrich, 1774-1840, German, The Dream of the Musician (Allegory of Heavenly Music), 1826-1827. Charcoal on tracing paper, 72.2 x 51.5 cm. Hamburger Kunsthalle, Hamburg. Romanticism.

577. Caspar David Friedrich, 1774-1840, German, Self-Portrait, 1810. Black chalk on paper, 22.9 x 18.2 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Romanticism.

578. Théodore Géricault, 1791-1824, French, Study of Horses (detail), 1813-1814. Graphite, 21 x 27.9 cm. J. Paul Getty Museum, Los Angeles. Romanticism.

305

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:148:46 AM AM Page Page 306306

579. William Blake, 1757-1827, British, A Destroying Deity, c. 1820-1825. Pen and brush and ink, watercolour, and graphite on wove paper, 20.6 x 29.8 cm. Philadelphia Museum of Art, Philiadelphia. Romanticism.

306

579

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:148:46 AM AM Page Page 307307

— 19 CENTURY — TH

307

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:158:46 AM AM Page Page 308308

580

580. Caspar David Friedrich, 1774-1840, German, Winter - Ruins of a Convent and a Cemetery at the Edge of the Sea, 1826. Brush and sepia wash over a pencil drawing, 192 x 275 cm. Hamburger Kunsthalle, Hamburg. Romanticism.

581. John Glover, 1767-1849, British, A View of Old London Bridge, c. 1824. Monochrome drawing. Victoria and Albert Museum, London. Romanticism.

582. John Glover, 1767-1849, British, Landscape with Cattle, c. 1824. Monochrome drawing. Victoria and Albert Museum, London. Romanticism.

CASPAR DAVID FRIEDRICH (Greifswald, 1774 - Dresden, 1840) Like Gainsborough, Friedrich is mostly known for his landscapes. They depict trees, hills, and misty mornings based on his strong observation of nature. Mountains symbolise an immovable faith while the trees are an allegory of hope. Therefore, his landscapes reflect his spiritual relationship with nature and his religious aspirations. His Monk by the Sea expresses his recurring theme of the insignificance of the individual in relation to the vastness of nature. Painter as draughtsman or printmaker, he was one of the greatest German leaders of Romanticism.

308

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:158:46 AM AM Page Page 309309

— 19 CENTURY — TH

581

582

309

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 8:46 Drawings_19th_4C_04 Nov 2013_Layout 10/20/201414:45 PM Page 310AM Page 310

583

583. John Constable, 1776-1837, British, Banks of the Canal Near Newbury, Berks, 1821. Pencil and wash on paper, 17.3 x 26 cm. Victoria and Albert Museum, London. Romanticism.

584

584. John Constable, 1776-1837, British, Salisbury Cathedral Seen from the River, 1823. Pencil on paper. Victoria and Albert Museum, London. Romanticism.

310

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:168:46 AM AM Page Page 311311

— 19 CENTURY — TH

585

585. William Blake, 1757-1827, British, Dante Adoring Christ (illustration to Dante’s Divine Comedy: Paradiso XIV, 97-111), 1824–1827. Pen and ink, and watercolour over pencil and black chalk, 52.7 x 37.2 cm. National Gallery of Victoria, Melbourne. Romanticism.

311

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 Drawings_19th_4C_04 Nov 2013_Layout 3/12/2014 1 4:14 PM Page 8:46 312 AM Page 312

586

586. Jean-Baptiste Camille Corot, 1796-1875, French, Landscape with Rocks Near Marino, 1827. Graphite, 29.2 x 27.3 cm. Fondation Custodia, Paris. Realism, Barbizon school.

587. John Constable, 1776-1837, British, The Root of a Tree, at Hampstead, 1831. Pencil on paper, 22.7 x 18.4 cm. Victoria and Albert Museum, London. Romanticism.

JEAN-BAPTISTE CAMILLE COROT (Paris, 1796 -1875)

Corot’s parents were court dressmakers in the days of Napoleon Bonaparte. Living in comfortable circumstances, their son never wanted for money. His father had apprenticed him to a linen-draper, but after eight years he consented to his son’s desire to become a painter. When Corot paid his first visit to Italy, he was so attracted by the moving life on the streets of Rome and Naples that he transferred it to his sketch-book. Because his subjects would not remain still long enough to be treated methodically, he learned to draw, with a few strokes, the general effect of a moving picture and with such success that after a time he could rapidly suggest the appearance of even so intricate a scene as a ballet. This acquired skill became very useful, as when he sought to represent the tremble of foliage in the morning or evening air. It taught him also, by degrees, the value of generalisation, that is, of not representing details so much as of discovering the salient qualities of objects, and of uniting them into a whole that suggested, rather than definitively described. The first inspiration of his work was Italy and the Italian landscape; next, the landscape of France began to appeal to his imagination. In his little house in Ville d’Avray, near Paris, he spent his time filling his soul with visions of nature, which, when he returned to Paris, were transferred to canvas. Corot interpreted his moods concerning nature, rather than strictly depicting nature itself. He was not a great descriptive, epic poet, alive to the mighty forces that underlie the vastness of his subject, but a sweet, lyric singer of a few choice moments. 587

312

F_The Book Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/22/2013 4:05 PM Page 313

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:178:46 AM AM Page Page 314314

588

589

588. Thomas Shotter Boys, 1803-1874, British, A View of the Church of Our Lady of Hanswijk, Malines, Belgium, 1831. Watercolour over graphite, 26 x 36.8 cm. J. Paul Getty Museum, Los Angeles. Romanticism.

589. Joseph Mallord William Turner, 1775-1851, British, Boats at Sea, after c. 1830. Watercolour on paper, 22.2 x 28 cm. Tate Collection, London. Romanticism.

314

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:178:46 AM AM Page Page 315315

— 19 CENTURY — TH

590

590. Eugène Delacroix, 1798-1863, French, Young Arab in His Chamber (or Moroccan in White or Young Moroccan Chief), 1832. Watercolour, graphite, and highlights with gouache, 19 x 29.8 cm. Musée du Louvre, Paris. Romanticism.

EUGÈNE DELACROIX (Charenton-Saint-Maurice, 1798 - Paris, 1863) Delacroix was one of the greatest colourists of the 19th century, in the sense of one who thinks and feels and expresses himself by means of colours and sees them, in his mind’s eye, as a composition before he begins to resolve the whole into its parts, and work out the separate details of form. He nurtured himself upon the works of the colourists in the Louvre, especially upon Rubens. Indirectly it came out of the heart of the Romantic movement which had spread over Europe. Delacroix was inspired by the writers Goethe, Scott, Byron, and Victor Hugo. His own romantic nature flamed up through contact with theirs; he was possessed with their souls and became the first of the Romantic painters. He took many of his subjects from the poets of his preference, not to translate into literal illustrations, but to make them express in his own language of painting the most agitated emotions of the human heart. On the other hand, it is generally in the relationship of several figures –in other words, in drama– that Delacroix finds the natural and striking expression of his ideas. His work is an immense and multiform poem, at once lyrical and dramatic, on passions – the violent and murderous passions which fascinate, dominate, and rend humanity. In the elaboration and execution of the pages of this poem, Delacroix does not forego any of his faculties as a man and an artist of vast intelligence standing on a level with the thoughts of the greatest in history, legend and poetry. Rather, he makes use of a feverish imagination always controlled by lucid reasoning and cool willpower. His expressive and life-like drawing, strong and subtle colour, sometimes composing a bitter harmony, sometimes overcast by that ‘sulphurous’ note already observed by contemporaries, produce an atmosphere of storm, supplication, and anguish. Passion, movement and drama must not be supposed to engender disorder. With Delacroix as with Rubens, there hovers over the saddest representations, over tumults, horrors and massacre, a kind of serenity which is the sign of art itself and the mark of a mind mastering its subject.

315

F_The Book Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/20/2013 9:17 AM Page 316

591

316

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 8:46 Drawings_19th_4C_04 Nov 2013_Layout 10/20/201414:46 PM Page 317AM Page 317

— 19 CENTURY — TH

593

592

594

591. Jean-Baptiste Camille Corot, 1796-1875, French, Young Girl with a Beret, c. 1831. Black chalk, 29 x 22.2 cm. Palais des Beaux-Arts, Lille. Realism, Barbizon school.

592. Eugène Delacroix, 1798-1863, French, Moroccan Woman, 1832. Watercolour. Musée Condé, Chantilly. Romanticism.

593. Jean-Auguste-Dominique Ingres, 1780-1867, French, Louis-François Bertin, 1832. Pencil on paper. Musée du Louvre, Paris. Neoclassicism.

594. Eugène Delacroix, 1798-1863, French, Self-Portrait with Cap, 1832. Pencil on paper, 19.3 x 12.7 cm. Musée du Louvre, Paris. Romanticism.

317

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 11:50 8:46 AM AMPage Page 318 318

595

596

595. Eugène Delacroix, 1798-1863, French, Jewish Bride in Tangier, date unknown. Pencil and watercolour on paper, 28.5 x 23.2 cm. Musée du Louvre, Paris. Romanticism.

596. Eugène Delacroix, 1798-1863, French, Study of a Seated Arab, 1832. Black, red and white chalk, and brush with red wash, on buff paper, 30.8 x 27.4 cm. British Museum, London. Romanticism.

597

JEAN—AUGUSTE—DOMINIQUE INGRES (Montauban, 1780 - Paris, 1867)

Ingres at first seemed destined to continue brilliantly the work of his master David both in portrait and historical painting, but he soon emancipated himself. At first, his contemporary rivals attacked his ‘archaic’ and ‘singular’ taste and dubbed him ‘Gothic’ and ‘Chinese’. During the Salon of 1824, however, Ingres was promoted to leader of the academic style in opposition to the new Romanticism led by Delacroix. He was acclaimed as master of traditional values and finished his days in his home town in southern France. Heralded as the ‘Guardian of the Classical Rules and Precepts’, we however still perceive eccentricity in some of the most beautiful of his works. A pedant, seeing the back of La Grande Odalisque and various exaggerations of form in The Turkish Bath would point to this incomparable draughtsman’s faults. But are these not the means by which a great and extremely sensitive artist interprets his passion for the beautiful female form?

597. Jean-Auguste-Dominique Ingres, 1780-1867, French, Half-Body Self-Portrait, 1835. Graphite on paper, 29.9 x 21.9 cm. Musée du Louvre, Paris. Romanticism.

318

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:188:46 AM AM Page Page 319319

— 19 CENTURY — TH

598

598. Eugène Delacroix, 1798-1863, French, Two Seated Arab Women (study for Women of Algiers), c. 1832. Watercolour over traces of graphite, 10.7 x 13.8 cm. Musée du Louvre, Paris. Romanticism.

319

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:188:46 AM AM Page Page 320320

JOSEPH MALLORD WILLIAM TURNER (London, 1775-1851) At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly as many canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude’s masterpieces. And there we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner’s protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner’s pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.

599. Joseph Mallord William Turner, 1775-1851, British, The Burning of the Houses of Parliament, from the River, 1834. Watercolour on paper, 23.2 x 32.5 cm. Tate Collection, London. Romanticism.

320

599

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:188:46 AM AM Page Page 321321

— 19 CENTURY — TH

321

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:198:46 AM AM Page Page 322322

600

601

600. Joseph Mallord William Turner, 1775-1851, British, Long Ship’s Lighthouse, Land’s End, c. 1834-1835. Watercolour and gouache, 28.6 x 44.7 cm. J. Paul Getty Museum, Los Angeles. Romanticism.

601. Joseph Mallord William Turner, 1775-1851, British, Venice: Moonlight on the Lagoon, 1840. Watercolour and gouache on paper, 24.5 x 30.4 cm. Tate Collection, London. Romanticism.

602. Antoine Louis Barye, 1796-1875, French, A Tiger Rolling on the Ground, date unknown. Watercolour, 16.4 x 25.4 cm. Musée du Louvre, Paris. Romanticism.

603. Caspar David Friedrich, 1774-1840, German, Landscape with Grave, Coffin and Owl, c. 1836-1837. Sepia ink and crayon on paper, 38.5 x 38.3 cm. Hamburger Kunsthalle, Hamburg. Romanticism.

322

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:198:46 AM AM Page Page 323323

— 19 CENTURY — TH

602

603

ANTOINE LOUIS BARYE (Paris, 1796-1875)

Barye was a French sculptor, born in Paris on the 24 September 1796. As did many of the Renaissance sculptors, he began life as a goldsmith. After studying under Bosio, the sculptor, and Gros, the painter, he was admitted to the École des Beaux-Arts in 1818. But it was not until 1823, when he was working for Fauconnier, the goldsmith, that he discovered his real vocation through watching wild beasts in the Jardin des Plantes, making vigorous studies of them in pencil drawings worthy of Delacroix and then modelling them in sculpture on a large or small scale. The fame he deserved came too late. The mass of admirable work left to us by Barye entitles him to be regarded as the greatest artist of animal life of the French school, and as the creator of a new class of art which has attracted such men as Frémiet, Peter, Cain, and Gardet, who are regarded with justice as his worthiest followers.

323

F_The Book Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 12/16/2013 4:40 PM Page 324

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:198:46 AM AM Page Page 325325

— 19 CENTURY — TH

JEAN-FRANÇOIS MILLET

(Gruchy, 1814 - Barbizon, 1875) Millet was the son of a small farmer, which explains the fact that when he painted rural life, it was not as if he were a city gentleman visiting the country, but as if he belonged to that class. His early life was very close to nature. He grew up with the air of the hills and of the sea in his nostrils, both conducive to sturdiness of character and to the development of imagination, if a boy chances to have any. He knew nothing of art or artists, but he had the desire to represent what he saw and in the periods between work on the poor farm he would copy the engravings from the family Bible, or take a piece of charcoal and draw upon a white wall. An uncle, who was a priest, had taught him as a boy, so that in his manhood he read Shakespeare and Virgil in the original texts. Therefore, although he was of the peasant life, he was greater than it, and brought to the interpretation of its most intimate facts a breadth of view and depth of sympathy which made his pictures much more than studies of peasants. The determination of the farmer in The Sower suggests he is not a man to be reckoned with. After the sowing is complete, one could imagine him leading thousands of peasants to Paris; perhaps it is the empowerment of peasants by the skilled hands of artists like Millet that led to this painting’s confiscation prior to the revolution. Millet, with no direct thought of being poetical (or political), sought only to portray the truth as he saw and felt it. He has represented dull, homely facts with such an insight into the relation they bear on the lives of the people engaged in them, that he has created an atmosphere of imagination around the facts.

605

606

604. Jean-Auguste-Dominique Ingres, 1780-1867, French, Portrait of Franz Liszt, 1839. Graphite and white highlights, 30.9 x 22.8 cm. Nationalarchiv, Richard Wagner Museum, Bayreuth. Neoclassicism.

605. Jean-François Millet, 1814-1875, French, Vineworker, seated on the Ground, date unknown. Graphite and charcoal on off-white paper, 36.1 x 28.8 cm. Ashmolean Museum, Oxford. Realism, Barbizon school.

604

606. Jean-Baptiste Camille Corot, 1796-1875, French, Compiègne Forest, 1840. Black chalk, 40 x 27 cm. Palais des Beaux-Arts, Lille. Realism, Barbizon school.

325

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 1:168:46 PM AM Page Page 326326

607 608

607. Théodore Rousseau, 1812-1867, French, Banks of a River in Berry, 1842. Watercolour, brown wash, heightened with brown, blue, and white oil over traces of black chalk, 28.9 x 43.6 cm. Fondation Custodia, Paris. Realism, Barbizon school.

608. Jean-François Millet, 1814-1875, French, Self-Portrait, c. 1845-1846. Pencil and black chalk on paper, 56.2 x 45.6 cm. Musée du Louvre, Paris. Realism, Barbizon school.

609. Dante Gabriel Rossetti, 1828-1882, British, Self-Portrait, 1847. Pencil and white chalk on paper, 20.7 x 16.8 cm. National Portrait Gallery, London. Pre-Raphaelite.

326

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:198:46 AM AM Page Page 327327

— 19 CENTURY — TH

609

DANTE GABRIEL ROSSETTI

(London, 1828 - Birchington-on-Sea, 1882) Rossetti’s father, an Italian patriot who had sought refuge in London, where he became professor of Italian at King’s College, was a distinguished Dante scholar. Dante Gabriel would be a poet as well as a painter. Rossetti was extraordinarily precocious, and very early he became acquainted with Walter Scott and Shakespeare, but the chief influence of his childhood was the worship of Dante; he knew the poems by heart. He could not find the help he wanted in the systematic methods of the Royal Academy, and he was impatient to paint the pictures that thronged his brain. Consequently, he never acquired a complete command of drawing. Perhaps he was not encouraged to try for such mastery, because of his fondness for subjects from Dante and his instinctive feeling that they must be represented with the almost childlike simplicity of feeling. At the age of twenty-one Rossetti founded, together with Hunt, John Millais, three young sculptors, and Rossetti’s younger brother, a society with the title of the Pre-Raphaelite Brotherhood, who were in the habit of affixing to their signatures the letters, PRB. The object of the Brotherhood was revolt against existing views and conditions of art. In its original intention it was not unlike the revolt of Courbet - a plea for Realism. He was ridiculing the dry formalism of the Classicists. Additionally, while he persevered in painting, he was continually experimenting in poetry. In 1850 he met Miss Elizabeth Siddal, who was introduced to him as a model. She satisfied at once his conception of a perfectly balanced soul and body, of soul beauty shining through the beauty of form, which was his ideal of woman. She also became his ideal of Beatrice, and as such he painted her many times. He loved her, but for some reason marriage was postponed for ten years, and then after scarcely two years of marriage she died. But the memory of her abided with him, and almost all his subsequent painting was a representation, in one character or another, of her. Suffering from the loss of his wife, and being the victim of insomnia, he became a prey to the most morbid sensibility. Only at intervals, encouraged by his friends, who clung to him, could he work. He spent his last year as an invalid recluse, and died in 1882.

327

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:208:46 AM AM Page Page 328328

610

GUSTAVE COURBET

(Ornans, 1819 - La Tour-de-Peilz, 1877) Ornans, Courbet’s birthplace, is near the beautiful valley of the Doubs River, and it was here as a boy, and later as a man, that he absorbed the love of landscape. He was by nature a revolutionary, a man born to oppose existing order and to assert his independence; he had that quality of bluster and brutality which makes the revolutionary count in art, as well as in politics. In both directions his spirit of revolt manifested itself. He went to Paris to study art, yet he did not attach himself to the studio of any of the prominent masters. Already in his country home he had had a little instruction in painting, and preferred to study the masterpieces of the Louvre. At first his pictures were not sufficiently distinctive to arouse any opposition, and were admitted to the Salon. Then followed Funeral at Ornans, which the critics violently assailed: “A masquerade funeral, six metres long, in which there is more to laugh at than to weep over.” Indeed, the real offence of Courbet’s pictures was that they represented live flesh and blood. They depicted men and women as they really are and realistically doing the business in which they are engaged. His figures were not men and women deprived of personality and idealised into a type, posed in positions that will decorate the canvas. He advocated painting things as they are, and proclaimed that la vérité vraie must be the aim of the artist. So at the Universal Exposition of 1855 he withdrew his pictures from the exhibition grounds and set them in a wooden booth, just outside the entrance. Over the booth he posted a sign with large lettering. It read, simply: “Courbet – Realist.” Like every revolutionary, he was an extremist. He ignored the fact that to every artist the truth of nature appears under a different guise according to his way of seeing and experiencing. Instead, he adhered to the notion that art is only a copying of nature and not a matter also of selection and arrangement. In his contempt for prettiness, Courbet often chose subjects which may fairly be called ugly. But that he also had a sense of beauty may be seen in his landscapes. That sense, mingled with his capacity for deep emotion, appears in his marines – these last being his most impressive work. Moreover, in all his works, whether attractive or not to the observer, he proved himself a powerful painter, painting in a broad, free manner, with a fine feeling for colour, and with a firmness of pigment that made all his representations very real and stirring.

328

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:208:46 AM AM Page Page 329329

— 19 CENTURY — TH

611

612

611. Dante Gabriel Rossetti, 1828-1882, British, Elizabeth Siddal, 1854. Pen and ink, 23.8 x 11.2 cm. Victoria and Albert Museum, London. Pre-Raphaelite.

612. Jean-François Millet, 1814-1875, French, A Gleaner, 1851-1853. Conté crayon on beige paper, 31 x 15.5 cm. Fondation Custodia, Paris. Realism, Barbizon school.

610. Gustave Courbet, 1819-1877, French, Self-Portrait, c. 1849. Black chalk on paper. Wadsworth Atheneum Museum of Art, Hartford (Connecticut). Realism.

329

Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 8:46 F_The Book Drawings_19th_4C_04 Nov 2013_Layout 10/20/201414:49 PM Page 330AM Page 330

613

613. John Everett Millais, 1829-1896, British, Study for Christ in the House of His Parents, c. 1849. Graphite on paper, 19 x 33.7 cm. Tate Collection, London. Pre-Rapaelite.

614

615

614. William Bouguereau, 1825-1905, French, Portrait of Adélaïde, 1853. Pencil on paper, 44 x 29 cm. Private collection. Academicism.

330

615. William Morris, 1834-1896, British, Portrait of Jane Morris, c. 1857. Graphite on paper, 10.4 x 7.6 cm. British Museum, London. Arts and Crafts Movement.

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/25/2013 1 12/17/2013 9:028:46 AM AM Page Page 331331

— 19 CENTURY — TH

616

616. William Morris, 1834-1896, British, Self-Portrait, 1856. Pencil on paper, 28.6 x 22.2 cm. Victoria and Albert Museum, London. Arts and Crafts Movement.

617. Jean-François Millet, 1814-1875, French, The Fishermen, c. 1856-1858. Black crayon, 32.6 x 49 cm. Musée du Louvre, Paris. Realism, Barbizon school.

331

F_The Book Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/20/2013 9:22 AM Page 332

617

332

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:228:46 AM AM Page Page 333333

— 19 CENTURY — TH

333

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:238:46 AM AM Page Page 334334

618

619

620

HONORÉ DAUMIER (Marseille, 1808 - Valmondois, 1879) Apprenticed to Alexandre Lenoir, Daumier shared his master’s admiration for antiquities and for Titian and Rubens. He developed very young a great aptitude for drawing scathing caricature on the foibles of the bourgeoisie, the corruption of law and the incompetence of the government. As a painter he was one of the pioneers of Naturalism. He depicted street scenes as well as literary and mythological ones, using various techniques. His brushstrokes are either thick or fluid and he left a fair number of paintings unachieved. He did not meet with success until a year before his death in 1878, when Durand-Ruel collected his work for an exhibition at his gallery.

618. Claude Monet, 1840-1926, French, Black Woman Wearing a Madras, 1857. Pencil and gouache on paper, 25 x 16 cm. Musée Marmottan Monet, Paris. Impressionism. 619. Honoré Daumier, 1808-1879, French, The Clown, date unknown. Watercolour and ink, 24.2 x 12.2 cm. Private collection. Realism. 620. Honoré Daumier, 1808-1879, French, The Butcher, c. 1857. Watercolour, black ink, graphite, and black crayon on cream wove paper, 33.5 x 24.2 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Realism.

334

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 1:528:46 PM AM Page Page 335335

— 19 CENTURY — TH

621

621. Edward Coley Burne-Jones, 1833-1898, British, “I rose up in the silent night; I made my dagger sharp and bright”, c. 1859-1860. Pen and ink with scratching out over graphite on ivory wove paper, 12.7 x 14.6 cm. Philadelphia Museum of Art, Philadelphia. Pre-Raphaelite.

EDWARD COLEY BURNE-JONES (Birmingham, 1833 - Fulham, 1898) Burne-Jones’ oeuvre can be understood as an attempt to create in paint a world of perfect beauty, as far removed from the Birmingham of his youth as possible. At that time, Birmingham was a byword for the dire effects of unregulated capitalism – a booming, industrial conglomeration of unimaginable ugliness and squalor. The two great French symbolist painters, Gustave Moreau and Pierre Puvis de Chavannes, immediately recognised Burne-Jones as an artistic fellow traveller. But it is very unlikely that Burne-Jones would have accepted or even, perhaps, have understood the label of ‘symbolist’. Yet he seems to have been one of the most representative figures of the symbolist movement and of that pervasive mood termed ‘fin-de-siecle’. Burne-Jones is usually labelled as a Pre-Raphaelite. In fact, he was never a member of the Brotherhood formed in 1848. Burne-Jones’ brand of Pre-Raphaelitism derives not from Hunt and Millais but from Dante Gabriel Rossetti. Burne-Jones’ work in the late 1850s is, moreover, closely based on Rossetti’s style. His feminine ideal is also taken from that of Rossetti, with abundant hair, prominent chins, columnar necks and androgynous bodies hidden by copious medieval gowns. The prominent chins remain a striking feature of both artists’ depictions of women. From the 1860s their ideal types diverge. As Rossetti’s women balloon into ever more fleshy opulence, Burne-Jones’ women become more virginal and ethereal to the point where, in some of the last pictures, the women look anorexic. In the early 1870s Burne-Jones painted several mythical or legendary pictures in which he seems to have been trying to exorcise the traumas of his celebrated affair with Mary Zambaco. No living British painter between Constable and Bacon enjoyed the kind of international acclaim that Burne-Jones was accorded in the early 1890s. This great reputation began to slip in the latter half of the decade, however, and it plummeted after 1900 with the triumph of Modernism. With hindsight we can see this flatness and the turning away from narrative as characteristic of early Modernism and the first hesitant steps towards Abstraction. It is not as odd at it seems that Kandinsky cited Rossetti and Burne-Jones as forerunners of Abstraction in his book, Concerning the Spiritual in Art.

335

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:238:46 AM AM Page Page 336336

622 623

624

622. Auguste Rodin, 1840-1917, French, Dante and Virgil or Paolo and Francesca, c. 1880. Pencil and ink wash. Musée Rodin, Paris. Expressionism.

623. Edward Lear, 1812-1888, British, Petra, April 14, 1858 (detail), 1858. Pen and brown ink over pencil with watercolour and gouache on blue paper, 36.2 x 54 cm. J. Paul Getty Museum, Los Angeles. Naturalism.

624. Claude Monet, 1840-1926, French, Man with a Boater Hat, 1857. Pencil on paper, 24 x 16 cm. Musée Marmottan Monet, Paris. Impressionism.

625. Jean-Auguste-Dominique Ingres, 1780-1867, French, Study for The Turkish Bath, c. 1862. Black pen on paper, 61.9 x 48.9 cm. Musée du Louvre, Paris. Neoclassicism.

336

Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 F_The Book Drawings_19th_4C_04 Nov 2013_Layout 3/20/2014 1 4:01 PM Page 8:46 337 AM Page 337

— 19 CENTURY — TH

625

337

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 8:46 Drawings_19th_4C_04 Nov 2013_Layout 10/20/201414:50 PM Page 338AM Page 338

626. Édouard Manet, 1832-1883, French, La Toilette, 1860. Red chalk on paper, 29 x 20.8 cm. The Courtauld Gallery, London. Realism, Impressionism.

627. Edward Coley Burne-Jones, 1833-1898, British, The Backgammon Players, 1861. Black chalk on paper, 60.2 x 102.9 cm. The Fitzwilliam Museum, University of Cambridge, Cambridge. Pre-Raphaelite.

628. Edward Coley Burne-Jones, 1833-1898, British, Le Chant d’Amour, date unknown. Graphite, 28 x 36.2 cm. Location unknown. Pre-Raphaelite. 626

ÉDOUARD MANET (Paris, 1832-1883)

Manet is one of the most famous artists from the second half of the 19th century, linked to the impressionists although he was not really one of them. He had a great influence on French painting partly because of the choice he made for his subjects from everyday life, the use of pure colours, and his fast and free technique. He made, in his own work, the transition between Courbet’s Realism and the work of the Impressionists. Born a high bourgeois, he chose to become a painter after failing the entry to the Marine School. He studied with Thomas Couture, an academic painter, but it was thanks to the numerous travels he made around Europe from 1852 that he started to find out what would become his own style. His first paintings were mostly portraits and genre scenes, inspired by his love for Spanish masters like Velázquez and Goya. In 1863 he presented his masterpiece Luncheon on the Grass at the Salon des Refusés. His work started a fight between the defenders of academic art and the young ‘refusés’ artists. Manet became the leader of this new generation of artists. From 1864, the official Salon accepted his paintings, still provoking loud protests over works such as Olympia in 1865. In 1866, the writer Zola wrote an article defending Manet’s work. At that time, Manet was friends with all the future great impressionist masters: Edgar Degas, Claude Monet, Auguste Renoir, Alfred Sisley, Camille Pissarro and Paul Cézanne, and he influenced their work, even though he cannot strictly be counted as one of them. In 1874 indeed, he refused to present his paintings in the First Impressionist Exhibition. His last appearance in the official Salon was in 1882 with A Bar at the Folies-Bergère, one of his most famous works. Suffering from gangrene during the year 1883, he painted flower still-lifes until he became too weak to work. He died leaving behind a great number of drawings and paintings.

338

Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 8:46 F_The Book Drawings_19th_4C_04 Nov 2013_Layout 10/20/201414:50 PM Page 339AM Page 339

— 19 CENTURY — TH

627

628

339

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:238:46 AM AM Page Page 340340

629

629. Honoré Daumier, 1808-1879, French, A Criminal Cause, c. 1865. Pen and black ink over traces of graphite and black chalk, heightened with white, 18 x 28 cm. Victoria and Albert Museum, London. Realism.

630

340

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:248:46 AM AM Page Page 341341

— 19 CENTURY — TH

631

632

631. Paul Huet, 1803-1869, French, View near Apt, 1862. Watercolour, 22 x 35.3 cm. Fondation Custodia, Paris. Naturalism.

632. Edgar Degas, 1834-1917, French, Four Studies of a Jockey, 1866. Brush with black ink, oil paint, and white gouache, on tan wove paper, 45.3 x 31.6 cm. Art Institute of Chicago, Chicago. Impressionism.

630. Claude Monet, 1840-1926, French, The Coast of Normandy Viewed from Sainte-Adresse, c. 1864. Black chalk on cream laid paper, 17.9 x 30.8 cm. Fine Arts Museums of San Francisco, San Francisco. Impressionism.

341

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:248:46 AM AM Page Page 342342

633

633. Gustave Courbet, 1819-1877, French, Portrait of the Artist at Sainte-Pélagie, 1871. Charcoal on paper, 16.5 x 26.5 cm. Musée du Louvre, Paris. Realism.

634

342

635

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 8:46 Drawings_19th_4C_04 Nov 2013_Layout 10/20/201414:52 PM Page 343AM Page 343

— 19 CENTURY — TH

636

634. Honoré Daumier, 1808-1879, French, Art Lovers, 1863-1869. Brush and grey and black wash, charcoal, and graphite, with orange and red wash, 26.1 x 19.3 cm. The Cleveland Museum of Art, Cleveland. Realism.

636. Édouard Manet, 1832-1883, French, Study for Olympia, 1862-1863. Red chalk on paper, 22.5 x 30 cm. Bibliothèque nationale de France, Paris. Realism, Impressionism.

635. Dante Gabriel Rossetti, 1828-1882, British, Profile of a Lady (Jane Morris), 1861. Pencil and Indian ink, 34.6 x 28.9 cm. Victoria and Albert Museum, London. Pre-Raphaelite.

638

637

637. Edgar Degas, 1834-1917, French, Young Spartan Girl, c. 1860. Pencil and graphite on paper, 28 x 38 cm. Musée d’Orsay, Paris. Impressionism.

638. Edgar Degas, 1834-1917, French, Half-Nude Woman, Lying on her Back, 1865. Pencil on paper, 22.8 x 35.6 cm. Musée d’Orsay, Paris. Impressionism.

343

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:258:46 AM AM Page Page 344344

639 640

641

639. Édouard Manet, 1832-1883, French, Portrait of a Young Man (Léon Edouard Koëlla-Leenhoff), 1868. Red chalk, 32.5 x 23.2 cm. Museum Boijmans Van Beuningen, Rotterdam. Realism, Impressionism.

640. Dante Gabriel Rossetti, 1828-1882, British, Study for Mariana, 1868. Red, brown, off-white, and black chalk on tan paper, four sheets butt-jointed, 90.8 x 78.1 cm. The Metropolitan Museum of Art, New York. Pre-Raphaelite.

641. Paul Cézanne, 1839-1906, French, Portrait of Achille Emperaire, c. 1867-1870. Charcoal on buff paper, 48.2 x 30.8 cm. Musée du Louvre, Paris. Post-Impressionism.

642. Jean-Frédéric Bazille, 1841-1870, French, Manet and his Easel, c. 1868-1870? Charcoal, blue and white chalk on blue laid paper faded to yellow-grey, 29.5 x 21.5 cm. The Metropolitan Museum of Art, New York. Impressionism.

344

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:258:46 AM AM Page Page 345345

— 19 CENTURY — TH

642

345

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 4:128:46 PM AM Page Page 346346

643

643. Johan Barthold Jongkind, 1819-1891, Dutch, Windmills close to Rotterdam, 1867. Watercolour and black coloured pencil on cream antique laid paper, 26.4 x 44.9 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Naturalism.

346

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:258:46 AM AM Page Page 347347

— 19 CENTURY — TH

347

F_The Book Drawings_19th_ENG_P-1_04 Drawings_19th_ENG_P-OK(P-5)_13 Nov 2013_4C:Layout Dec 2013_Layout 1 11/25/2013 1 12/17/2013 9:028:46 AM AM Page Page 348348

644

645

646

644. Édouard Manet, 1832-1883, French, Study for The Balcony, 1868. Ink and wash on paper, 14.2 x 8.9 cm. Private collection. ReaIism, Impressionism.

645. Gustave Courbet, 1819-1877, French, Young Communards in Prison (Les Fédérés à la Conciergerie), 1871. Black chalk on wove paper, 25.9 x 16.6 cm. The Metropolitan Museum of Art, New York. Realism.

646. Edgar Degas, 1834-1917, French, Study for the Little 14-Year-Old Dancer, c. 1878-1881. Chalk and pastel, 46 x 57 cm. Private collection. Impressionism.

348

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:258:46 AM AM Page Page 349349

— 19 CENTURY — TH

647

GUSTAVE MOREAU (Paris, 1826-1898) As the son of an architect, Gustave Moreau was inculcated with a classical education at a very young age. He was only an eight-yearold boy when he started to develop the gifts that would make him a great draughtsman. Throughout his life he would collect drawings, copies and photographs of works that he admired and which provided frequent inspiration. On his travels in Italy, Moreau became familiar with the Renaissance masters, including Veronese, Carpaccio, Raphael, and even Michelangelo, whose Sistine Chapel frescoes he spent hours copying. In Paris, Moreau likewise continued to apply himself by copying the Old Masters at the Louvre, and his work soon reflected the diversity of his many influences and indirect inspirations. The encounter with Théodore Chassériau –a famous student of Ingres– in 1851 would ultimately empower his work. Moreau’s paintings were at first harshly criticised by critics and the public alike. A visionary artist, he had to wait several years for his work to be universally recognised. It was in 1876, when he offered Salon goers L’Apparition (The Apparition), that the public and critics finally opened their eyes to the beauty of his work. The head of Moreau’s St John the Baptist that he depicted in levitation, rather than on a platter, caused a sensation. He would later be elected to the Académie des Beaux-Arts, and also appointed professor at the École des Beaux-Arts. Gustave Moreau died in Paris in 1898. Today he is widely regarded as one of the greatest French Symbolist painters.

648

647. Gustave Moreau, 1826-1898, French, The Apparition, 1876. Watercolour, 106 x 72.2 cm. Musée d’Orsay, Paris. Symbolism.

648. Gustave Moreau, 1826-1898, French, Salome Dancing, c. 1875. Watercolour, 72 x 34 cm. Musée national Gustave-Moreau, Paris. Symbolism.

349

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:258:46 AM AM Page Page 350350

649

650

651

649. Edgar Degas, 1834-1917, French, Achille Degas, c. 1868-1872. Oil wash and graphite on paper, mounted on canvas, 36.7 x 23.3 cm. Minneapolis Institute of Arts, Minneapolis. Impressionism.

650. Odilon Redon, 1840-1916, French, After the Torture (After the Execution), 1877. Charcoal, 45 x 32.5 cm. Private collection. Symbolism.

651. Paul Cézanne, 1839-1906, French, Camille Pissarro, date unknown. Graphite on paper, 19.5 x 11.3 cm. Musée du Louvre, Paris. Post-Impressionism.

350

Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 F_The Book Drawings_19th_4C_04 Nov 2013_Layout 3/20/2014 1 4:00 PM Page 8:46 351 AM Page 351

— 19 CENTURY — TH

652

652. Édouard Manet, 1832-1883, French, Head of a Man, 1874. Indian ink on paper, 17 x 14 cm. Musée Marmottan Monet, Paris. Realism, Impressionism.

351

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:268:46 AM AM Page Page 352352

653

654

653. Edgar Degas, 1834-1917, French, Dancer Standing, Her Hands Crossed Behind Her Back, 1873. Black and white chalk on mounted grey paper, 45 x 29.7 cm. Private collection. Impressionism.

654. Edgar Degas, 1834-1917, French, Three Studies of Manet, date unknown. Pencil on paper. Private collection. Impressionism.

EDGAR DEGAS

(Paris, 1834-1917) Degas was closest to Renoir in the Impressionists’ circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future Impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854, Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter’s memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject. Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas would move from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days.

352

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:268:46 AM AM Page Page 353353

— 19 CENTURY — TH

655

655. Edward Coley Burne-Jones, 1833-1898, British, The Song of Solomon “Who is this that cometh out of the wilderness?”, 1876. Pencil on paper, 35 x 20.3 cm. Birmingham Museums and Art Gallery, Birmingham (UK). Pre-Raphaelite.

656. Edward Coley Burne-Jones, 1833-1898, British, The Tiburtine Sibyl, 1875. Pencil, black chalk, and pastel, heightened with gold paint on paper, 111.6 x 45.3 cm. Birmingham Museums and Art Gallery, Birmingham (UK). Pre-Raphaelite.

656

353

Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 8:46 F_The Book Drawings_19th_4C_04 Nov 2013_Layout 10/20/201414:52 PM Page 354AM Page 354

657

658 659

657. Adolph Menzel, 1815-1905, German, Self-Portrait, c. 1876-1877. Pencil on paper, 15 x 17.8 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Realism.

658. Paul Cézanne, 1839-1906, French, Forest, c. 1874. Pencil on paper, 23.5 x 17.5 cm. Albertina, Vienna. Post-Impressionism.

659. Alfred Sisley, 1839-1899, British, Head of a Young Boy (Pierre Sisley), c. 1877. Pencil, 20.5 x 15.8 cm. Musée du Louvre, Paris. Impressionism.

354

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:268:46 AM AM Page Page 355355

— 19 CENTURY — TH

660

660. Edgar Degas, 1834-1917, French, Portrait of Giovanna Bellelli, date unknown. Charcoal on paper, 32.4 x 23.9 cm. Musée du Louvre, Paris. Impressionism.

355

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:268:46 AM AM Page Page 356356

661

661. Odilon Redon, 1840-1916, French, Head of a Martyr, 1877. Charcoal and black pencil on paper, 36.6 x 36.3 cm. Kröller-Müller Museum, Otterlo. Symbolism.

ODILON REDON

(Bordeaux, 1840 - Paris, 1916) Redon started drawing as a young child, and at the age of ten he was awarded a drawing prize at school. At age fifteen, he began to study drawing but, upon the insistence of his father, switched to architecture. Any career in architecture ended when he failed to pass the entrance exams at the École des Beaux-Arts in Paris, but eventually he studied there under Jean-Léon Gerôme. Back home in his native Bordeaux, he took up sculpture, and Rodolphe Bresdin instructed him in etching and lithography. However, joining the army in 1870 to serve in the Franco-Prussian War interrupted his artistic career. At the end of the war he moved to Paris, working almost exclusively in charcoal and lithography. It would not be until 1878 that his work gained any recognition with Guardian Spirit of the Waters, and he published his first album of lithographs entitled Dans le Rêve in 1879. In the 1890s, he began to use pastel and oils, which dominated his works for the rest of his life. In 1899, he exhibited with the Nabis at Durand-Ruel’s. In 1903 he was awarded the Legion of Honour. His popularity increased when a catalogue of etchings and lithographs was published by André Mellerio in 1913. That same year he was given the largest single representation at the New York Armory Show.

356

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:268:46 AM AM Page Page 357357

— 19 CENTURY — TH

662

663

663. Odilon Redon, 1840-1916, French, Eye-Balloon, 1878. Charcoal and chalk on coloured paper, 42.2 x 33.3 cm. The Museum of Modern Art, New York. Symbolism.

662. Honoré Daumier, 1808-1879, French, The Print Collectors, 1860-1864. Pen and ink, wash and watercolour over traces of black chalk on paper, 34.5 x 31.1 cm. Victoria and Albert Museum, London. Realism.

664

665

664. Édouard Manet, 1832-1883, French, Portrait of Claude Monet, 1880. Brush and ink on paper, 13.6 x 11.5 cm. Private collection. Realism, Impressionism.

665. Edgar Degas, 1834-1917, French, Violinist, (study for The Dance Lesson), c. 1878-1879. Pastel and charcoal on wove paper, 39.1 x 29.8 cm. The Metropolitan Museum of Art, New York. Impressionism.

357

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:268:46 AM AM Page Page 358358

666

667

666. Alfred Sisley, 1839-1899, British, The Family, c. 1880. Pencil, 23 x 31 cm. Private collection. Impressionism. 667. Ilya Repin, 1844-1930, Russian, Evdokha Jevdokha Gussarivna, 1880. Black chalk and pencil on paper, 33 x 24 cm. State Russian Museum, St Petersburg. Realism. 668. Edgar Degas, 1834-1917, French, Dancer, c. 1880. Pastel and charcoal on blue-grey wove paper, 48.9 x 31.8 cm. The Metropolitan Museum of Art, New York. Impressionism. 669. Telemaco Signorini, 1835-1901, Italian, Seated Child, 1880-1882. Pencil on paper. Galleria degli Uffizi, Florence. Naturalism. 670. Odilon Redon, 1840-1916, French, The Convict or The Prisoner, 1881. Charcoal, 53.3 x 37.1 cm. The Museum of Modern Art, New York. Symbolism. 671. Edgar Degas, 1834-1917, French, Portrait of Giulia Bellelli, date unknown. Black crayon, grey wash, 23.6 x 19.6 cm. Musée du Louvre, Paris. Impressionism. 672. James McNeill Whistler, 1834-1903, American, Note in Pink and Brown, c. 1880. Charcoal and pastel on dark brown wove paper, 29.8 x 18.4 cm. The Metropolitan Museum of Art, New York. Post-Impressionism.

358

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:268:46 AM AM Page Page 359359

— 19 CENTURY — TH

668

359

F_The Book Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/20/2013 9:27 AM Page 360

670 672

669 671

360

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/25/2013 1 12/17/2013 9:018:46 AM AM Page Page 361361

— 19 CENTURY — TH

673

AUGUSTE RODIN

(Paris, 1840 - Meudon, 1917) French sculptor, Auguste Rodin, took classes at the School of Decorative Arts, also called the ‘Little School.’ After failing the entrance exam three times, he was unable to attend the School of Fine Art. As if in revenge against the establishment, he became one of the greatest sculptors of the century. In 1864, Rodin became a student of Carrier-Belleuse, first a master, then friend, of whom he made a bust, almost twenty years later. In 1877, Rodin exhibited at the ‘Cercle de Bruxelles’ his plaster work The Defeated, then at the Salon des Artistes Français under the title of Age of Bronze. The work provoked a real scandal, because the modelling appeared to be alive. Accused of moulding from a cast, Rodin was finally cleared of all suspicion, notably as a result of the support of CarrierBelleuse, and the affair finally allowed the genius of the sculptor to be revealed to the public. Now a recognised artist, he worked in a studio, in a marble works, on the rue de l’Université in Paris. In 1880, the state commissioned a cast of his Age of Bronze and a monumental door, for the future Museum of Decorative Arts. It was the beginning of public commissions which, until the death of the artist, never ceased and always ended, paradoxically, in scandal. Revolutionising sculpture by liberating the form, the work of Rodin was also marked by his admiration for Michelangelo, whose non finito method he utilised in his own way, by letting his figures appear from blocks of marble in which they are kept prisoner.

674

673. Auguste Rodin, 1840-1917, French, Cavalier Galloping on Horseback, Right Profile, c. 1880. Pencil, red ink, red and brown ink, wash on buff paper mounted on support paper, 18.7 x 16 cm. Musée Rodin, Paris. Expressionism.

674. Auguste Rodin, 1840-1917, French, Bust of a Nude Woman, Seated, Hands in Her Hair, date unknown. Pencil on paper. Musée Rodin, Paris. Expressionism.

361

Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/25/2013 9:018:46 AM AM Page 362362 F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 Page

675

676

PAUL CÉZANNE

(Aix-en-Provence, 1839-1906) Since his death just over a century ago, Cézanne has become the most famous painter of the 19th century. He was born in Aix-en-Provence in 1839 and the happiest period of his life was his early youth in Provence, in the company of Émile Zola. Following Zolá’s example, Cézanne went to Paris at the age of twenty-one. During the Franco-Prussian war he deserted the military, dividing his time between open-air painting and the studio. He said to Vollard, an art dealer, “I’m only a painter. Parisian wit gives me a pain. Painting nudes on the banks of the Arc [a river near Aix] is all I could ask for.” Encouraged by Renoir, one of the first to appreciate him, he exhibited with the Impressionists in 1874 and in 1877. He was received with derision, which hurt him deeply. Cézanne’s ambition, in his own words, was “to make out of Impressionism something as solid and durable as the paintings of the museums.” His aim was to achieve the monumental in a modern language of glowing, vibrating tones. Cézanne wanted to retain the natural colour of an object and to harmonise it with the various influences of light and shade trying to destroy it; to work out a scale of tones expressing the mass and character of the form. Cézanne loved to paint fruit because it afforded him obedient models, as he was a slow worker. He did not simply intend to copy an apple. He kept the dominant colour and the character of the fruit, but heightened the emotional appeal of the form by a scheme of rich and concordant tones. In his paintings of still-life he is a master. His fruit and vegetable compositions are truly dramatic; they have the weight, the nobility, the style of immortal forms. No other painter ever brought to a red apple a conviction so heated, sympathy so genuinely spiritual, or an observation so protracted. No other painter of equal ability ever reserved for still-life his strongest impulses. Cézanne restored to painting the pre-eminence of knowledge, the most essential quality to all creative effort. The death of his father in 1886 made him a rich man, but he made no change in his abstemious mode of living. Soon afterwards, Cézanne retired permanently to his estate in Provence. He was probably the loneliest of painters of his day. At times a curious melancholy attacked him, a black hopelessness. He grew more savage and exacting, destroying canvases, throwing them out of his studio into the trees, abandoning them in the fields, and giving them to his son to cut into puzzles, or to the people of Aix. At the beginning of the century, when Vollard arrived in Provence with intentions of buying on speculation all the Cézannes he could get hold of, the peasantry, hearing that a fool from Paris was actually handing out money for old canvases, produced from barns a considerable number of stilllifes and landscapes. The old master of Aix was overcome with joy, but recognition came too late. In 1906 he died from a fever contracted while painting in a downpour of rain.

362

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 3/12/20149:40 2:18 AM PMPage Page 363 363

— 19 CENTURY — TH

677 678

675. Paul Cézanne, 1839-1906, French, Self-Portrait, c. 1880-1882. Graphite on wove paper, 22 x 12.5 cm. National Gallery of Art, Washington, D.C. Post-Impressionism.

676. Édouard Manet, 1832-1883, French, Portrait of Eugène Pertuiset, 1881. Pen and ink on paper, 15.4 x 12 cm. Private collection. Realism, Impressionism.

677. Paul Cézanne, 1839-1906, French, Still Life with Pears and Apples, date unknown. Watercolour. Private collection. Post-Impressionism.

678. William Morris, 1834-1896, British, Windrush (wallpaper design), 1881-1883. Pencil, ink and watercolour on Whatman paper, 131.5 x 99.6 cm. William Morris Society & Museum, Hammersmith. Arts and Crafts Movement.

363

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:408:46 AM AM Page Page 364364

679

CLAUDE MONET

(Paris, 1840 - Giverny, 1926) For Claude Monet the designation ‘Impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true Impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his Impressionist friends. Monet did not want to enrol at the École des Beaux-Arts. He chose to attend a private school, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future Impressionist, Camille Pissarro. Later, in Gleyre’s studio, Monet met Auguste Renoir, Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterised by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.” Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.

364

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/25/2013 1 12/17/2013 9:018:46 AM AM Page Page 365365

— 19 CENTURY — TH

680 681

679. Claude Monet, 1840-1926, French, Two Men Fishing, 1883. Black crayon and scratchwork on paper, 25.6 x 34.5 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Impressionism.

680. Camille Pissarro, 1830-1903, French, View of La Varenne, date unknown. Ink and pencil. Private collection, New York. Impressionism.

681. Paul Cézanne, 1839-1906, French, Studies of Three Figures, Including a Self-portrait, c. 1883. Pencil and black chalk, 48.5 x 32 cm. Museum Boijmans Van Beuningen, Rotterdam. Post-Impressionism.

365

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:408:46 AM AM Page Page 366366

682

683

682. Georges Seurat, 1859-1891, French, L’Echo (study for Bathers at Asnières), 1883-1884. Black conté crayon on Michallet paper, 31.2 x 24 cm. Yale University Art Gallery, New Haven. Post-Impressionism.

683. Georges Seurat, 1859-1891, French, The Couple (study for A Sunday on La Grande Jatte), 1884. Conté crayon, 31.4 x 23.6 cm. British Museum, London. Post-Impressionism.

GEORGES SEURAT (Paris, 1859 - 1891)

Georges Seurat studied at the École des Beaux-Arts between 1878 and 1879. At that time, scientist- writers such as Chevreul, Rood or Sutter wrote treatises about colour and optical perception. Those theories largely influenced Neo-impressionism, of which Seurat is one of the pioneers, with Paul Signac, HenriEdmond Cross, Maximilien Luce, and Pissarro. Neo-impressionist painters were interested in colours and their interplay, and would make extensive use of complementary colours in their paintings. But, whereas Impressionism was more instinctive, Seurat is well-known for his technique of pointillism and divisionism – the controlled, precise juxtaposition of different coloured, painted dots on the canvas. His thoughts and techniques were most respected by Cubists and Neo-constructivists, who would follow him.

366

684. Vincent van Gogh, 1853-1890, Dutch, Woman Sewing, 1882. Pencil, wash and watercolour on paper. Kröller-Müller Museum, Otterlo. Post-Impressionism.

685. Georges Seurat, 1859-1891, French, Madame Seurat, the Artist’s Mother, c. 1882-1883. Conté crayon on Michallet paper, 30.5 x 23.3 cm. J. Paul Getty Museum, Los Angeles. Post-Impressionism.

686. Georges Seurat, 1859-1891, French, Seated Boy with Straw Hat (study for Bathers at Asnières), 1883-1884. Black Conte crayon on Michallet paper, 24.1 x 31.1cm. Yale University Art Gallery, New Haven. Post-Impressionism.

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:408:46 AM AM Page Page 367367

— 19 CENTURY — TH

684

685 686

367

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/25/2013 1 3/12/20149:02 2:18 AM PMPage Page 368 368

687. Pierre-Auguste Renoir, 1841-1919, French, Seated Bather Wiping her Arm, c. 1885. Pencil on paper, 26 x 21.5 cm. Musée du Louvre, Paris. Impressionism.

687

PIERRE-AUGUSTE RENOIR

(Limoges, 1841 - Cagnes-sur-Mer, 1919) Pierre-Auguste Renoir was born in Limoges on 25 February 1841. In 1854, the boy’s parents took him out of school and found a place for him in the Lévy brothers’ workshop, where he was to learn to paint porcelain. Renoir’s younger brother Edmond had this to say this about the move: “From what he drew in charcoal on the walls, they concluded that he had the ability for an artist’s profession. That was how our parents came to put him to learn the trade of porcelain painter.” One of the Lévys’ workers, Emile Laporte, painted in oils in his spare time. He suggested Renoir makes use of his canvases and paints. This offer resulted in the appearance of the first painting by the future Impressionist. In 1862 Renoir passed the examinations and entered the École des Beaux-Arts and, simultaneously, one of the independent studios, where instruction was given by Charles Gleyre. The second, perhaps even the first, great event of this period in Renoir’s life was his meeting, in Gleyre’s studio, with those who were to become his best friends for the rest of his days and who shared his ideas about art. Much later, when he was already a mature artist, Renoir had the opportunity to see works by Rembrandt in Holland, Velázquez, Goya and El Greco in Spain, and Raphael in Italy. However, Renoir lived and breathed ideas of a new kind of art. He always found his inspirations in the Louvre. “For me, in the Gleyre era, the Louvre was Delacroix,” he confessed to his son, Jean. For Renoir, the First Impressionist Exhibition was the moment his vision of art and the artist was affirmed. But this period in his life was marked by one further significant event. In 1873 he moved to Montmartre, to the house at 35 Rue Saint-Georges, where he lived until 1884. Renoir remained loyal to Montmartre for the rest of his life. Here he found his ‘plein-air’ subjects, his models and even his family. It was in the 1870s that Renoir acquired the friends who would stay with him for the remainder of his days. One of them was the art-dealer Paul Durand-Ruel, who began to buy his paintings in 1872. In summer, Renoir continued to paint a great deal outdoors together with Monet. He would travel out to Argenteuil, where Monet rented a house for his family. Édouard Manet sometimes worked with them too. In 1877, at the Third Impressionist Exhibition, Renoir presented a panorama of over twenty paintings. They included landscapes created in Paris, on the Seine, outside the city and in Claude Monet’s garden; studies of women’s heads and bouquets of flowers; portraits of Sisley, the actress Jeanne Samary, the writer Alphonse Daudet and the politician Spuller; and also The Swing and The Ball at the Moulin de la Galette. Finally, in the 1880s Renoir hit a ‘winning streak’. He was commissioned by rich financiers, the owner of the Grands Magasins du Louvre and Senator Goujon. His paintings were exhibited in London and Brussels, as well as at the Seventh International Exhibition held at Georges Petit’s in Paris in 1886. In a letter to Durand-Ruel, then in New York, Renoir wrote: “The Petit exhibition has opened and is not doing badly, so they say. After all, it’s so hard to judge about yourself. I think I have managed to take a step forward towards public respect. A small step, but even that is something.”

368

Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/21/2013 F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 3/12/201410:53 2:18AM PM Page Page369 369

— 19 CENTURY — TH

688

689

688. Pierre-Auguste Renoir, 1841-1919, French, Portrait of Séverine, 1885-1887. Charcoal and unfixed pastel on paper, 59.7 x 46.4 cm. The Metropolitan Museum of Art, New York. Impressionism.

689. Georges Seurat, 1859-1891, French, Study for Les Poseuses, 1886. Conté crayon on laid paper, 29.7 x 22.5 cm. The Metropolitan Museum of Art, New York. Post-Impressionism.

690

690. Paul Signac, 1863-1935, French, The Gas Tanks at Clichy, 1886. Pen and iron gall ink over graphite on Japan paper on cardboard, 24.5 x 36.6 cm. The Metropolitan Museum of Art, New York. Post-Impressionism.

691. Gustav Klimt, 1862-1918, Austrian, Reclining Girl and Two Studies of Hands, c. 1886-1887. Black pencil with white highlights, 27.6 x 42.4 cm. Albertina, Vienna. Symbolism, Vienna Secession.

369

F_The Book Drawings_19th_4C_04 Nov 2013_Layout 1 3/20/2014 4:00 PM Page 370

F_The Book Drawings_19th_4C_04 Nov 2013_Layout 1 3/20/2014 4:01 PM Page 371

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:428:46 AM AM Page Page 372372

692

693

692. Camille Claudel, 1864-1943, French, Doctor Jeans, 1886. Charcoal heightened with white on sepia paper, 57 x 40.5 cm. Private collection. Expressionism.

694

372

693. Camille Claudel, 1864-1943, French, Florence Jeans, 1886. Charcoal heightened with white and red chalk on sepia paper, 57 x 40.5 cm. Private collection. Expressionism.

Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/25/2013 9:018:46 AM AM Page 373373 F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 Page

— 19 CENTURY — TH

695

694. Eugène Boudin, 1824-1898, French, Beach Scene, 1887. Pencil with touches of watercolour. Private collection. Impressionism.

695. Valentin Serov, 1865-1911, Russian, Self-Portrait, 1885. Black chalk and graphite on paper, 32 x 25.5 cm. State Russian Museum, St Petersburg. Naturalism.

373

F_The Book Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/20/2013 9:42 AM Page 374

696

697

374

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:428:46 AM AM Page Page 375375

— 19 CENTURY — TH

699 700

698

696. Gustav Klimt, 1862-1918, Austrian, Head of a Propped Lying Man, 1887. Black chalk and white highlights, 28 x 43 cm. Albertina, Vienna. Symbolism, Vienna Secession.

697. Gustav Klimt, 1862-1918, Austrian, Reclining Nude, 1887. Black pencil with white highlights, 28.8 x 42.4 cm. Albertina, Vienna. Symbolism, Vienna Secession.

698. James McNeill Whistler, 1834-1903, American, Blue and Violet, c. 1888-1889. Chalk and pastel on brown paper laid down on card, 25.9 x 15.3 cm. The Hunterian, University of Glasgow, Glasgow. Post-Impressionism.

699. Fernand Khnopff, 1858-1921, Belgian, Study of Women, c. 1887. Red chalk on paper, 12.5 x 8.5 cm. Private collection. Symbolism.

700. Gustave Moreau, 1826-1898, French, Venice, c. 1885. Watercolour, 25.5 x 23.5 cm. Musée national Gustave-Moreau, Paris. Symbolism.

375

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:428:47 AM AM Page Page 376376

701

702

703

701. John Singer Sargent, 1856-1925, American, Portrait of John Alfred Parsons Millet, 1888. Pencil on paper, 23.5 x 15.2 cm. Private collection. Naturalism.

702. Vincent van Gogh, 1853-1890, Dutch, La Mousmé, Sitting, 1888. Pencil and ink on paper. Pushkin Museum, Moscow. Post-Impressionism.

703. Henri de Toulouse-Lautrec, 1864-1901, French, Self-Caricature, 1888. Chalk on white paper, 25.5 x 16 cm. Museum Boijmans Van Beuningen, Rotterdam. Post-Impressionism.

704. Vincent van Gogh, 1853-1890, Dutch, Portrait of Joseph Roulin, 1888. Pen and ink, and black chalk on paper, 32.1 x 24.5 cm. J. Paul Getty Museum, Los Angeles. Post-Impressionism.

376

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:428:47 AM AM Page Page 377377

— 19 CENTURY — TH

704

VINCENT VAN GOGH

(Zundert, 1853 - Auvers-sur-Oise, 1890) Vincent van Gogh’s life and work are so intertwined that it is hardly possible to observe one without thinking of the other. Van Gogh has indeed become the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider. An article, published in 1890, gave details about Van Gogh’s illness. The author of the article saw the painter as “a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological.” Very little is known about Vincent’s childhood. At the age of eleven he had to leave “the human nest”, as he called it himself, for various boarding schools. The first portrait shows us Van Gogh as an earnest nineteen year old. At that time he had already been at work for three years in The Hague and, later, in London at the Goupil & Co gallery. In 1874 his love for Ursula Loyer ended in disaster and a year later he was transferred to Paris, against his will. After a particularly heated argument during the Christmas holidays in 1881, his father, a pastor, ordered Vincent to leave. With this final break, he abandoned his family name and signed his canvases simply “Vincent”. He left for Paris and never returned to Holland. In Paris he came to know Paul Gauguin, whose paintings he greatly admired. The self-portrait was the main subject of Vincent’s work from 1886-1888. In February 1888 Vincent left Paris for Arles and tried to persuade Gauguin to join him. The months of waiting for Gauguin were the most productive time in Van Gogh’s life. He wanted to show his friend as many pictures as possible and decorate the Yellow House. But Gauguin did not share his views on art and finally returned to Paris. On 7 January, 1889, fourteen days after his famous self-mutilation, Vincent left the hospital where he was convalescing. Although he hoped to recover from and to forget his madness, he actually returned twice in the same year. During his last stay in hospital, Vincent painted landscapes in which he recreated the world of his childhood. It is said that Vincent van Gogh shot himself in the side in a field but decided to return to the inn and went to bed. The landlord informed Dr. Gachet and his brother Theo, who described the last moments of his life, which ended on 29 July, 1890, as follows: “I wanted to die. While I was sitting next to him promising that we would try to heal him. [...], he answered, ‘La tristesse durera toujours (The sadness will last forever).’”

377

F_The Book Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/20/2013 9:42 AM Page 378

705

706

378

707

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 3/12/20149:42 2:18 AM PMPage Page 379 379

— 19 CENTURY — TH

708

708. Henri de Toulouse-Lautrec, 1864-1901, French, At the Circus: Trained Dog and Elephant, date unknown. Coloured pencils. Musée Toulouse-Lautrec, Albi. Post-Impressionism.

709

705. Jan Toorop, 1858-1928, Dutch, The Three Brides, c. 1892-1893. Chalk, pencil, and charcoal on paper, 78 x 98 cm. Kröller-Müller Museum, Otterlo. Symbolism. 706. Camille Claudel, 1864-1943, French, Auguste Rodin, 1888. Charcoal, 42 x 35 cm. Private collection. Expressionism. 707. Adolph Menzel, 1815-1905, German, Study of a Woman in Profile, 1890. Graphite on paper, 20.6 x 13 cm. Wadsworth Atheneum Museum of Art, Hartford (Connecticut). Realism.

709. Albert Dubois-Pillet, 1846-1890, French, The Banks of the Marne at Dawn, c. 1888. Watercolour over traces of black chalk, 15.8 x 22.2 cm. J. Paul Getty Museum, Los Angeles. Post-Impressionism.

379

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:428:47 AM AM Page Page 380380

710 711

710. Vincent van Gogh, 1853-1890, Dutch, The Blue Cart, 1888. Graphite, black chalk, brown ink, watercolour, and gouache on tan laid paper, 39.4 x 52.3 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Post-Impressionism.

711. Frederic Remington, 1861-1909, American, A Comanche, 1888-1889. Ink wash and gouache on paper, 46.4 x 43.8 cm. Frederic Remington Art Museum, Ogdensburg (New York). Naturalism.

712. Vincent van Gogh, 1853-1890, Dutch, Street in Saintes-Maries-de-la-Mer, 1888. Reed pen, quill, and ink over chalk on wove paper, 24.3 x 31.7 cm. The Metropolitan Museum of Art, New York. Post-Impressionism.

713. Vincent van Gogh, 1853-1890, Dutch, The Garden of the Hospital at Arles, 1889. Pencil, pen, and ink on paper, 45.5 x 59 cm. Van Gogh Museum, Amsterdam. Post-Impressionism.

380

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:438:47 AM AM Page Page 381381

— 19 CENTURY — TH

712

713

381

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:438:47 AM AM Page Page 382382

714

715

714. Paul Gauguin, 1848-1903, French, Head of a Breton Peasant Girl, c. 1889. Graphite, black and red crayon, and black wash on white paper, 22.4 x 20 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Post-Impressionism.

716

382

715. John Singer Sargent, 1856-1925, American, Male Head in Profile, c. 1890-1915. Charcoal on paper, 40.3 x 34.8 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Naturalism.

717

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:438:47 AM AM Page Page 383383

— 19 CENTURY — TH

718 719

716. Paul Cézanne, 1839-1906, French, Study for The Card Players, c. 1890-1892. Pencil on paper. Private collection. Post-Impressionism.

717. Félix Vallotton, 1865-1925, Swiss, Self-Portrait, c. 1890. Pencil on paper, 21.5 x 16.4 cm. Musée cantonal des Beaux-Arts, Lausanne. Nabis.

718. John Singer Sargent, 1856-1925, American, Recumbant Male Nude Leaning on His Right Forearm, c. 1890-1915. Charcoal on paper, 47.6 x 62.4 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Naturalism.

719. Gustav Klimt, 1862-1918, Austrian, Preparatory study for Allegory of Sculpture, 1889. Pencil, blue pastel and gold highlights. Private collection. Symbolism, Vienna Secession.

383

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:438:47 AM AM Page Page 384384

720

720. Paul Gauguin, 1848-1903, French, Young Breton Girl, Seated, 1888. Charcoal and watercolour, 30.5 x 42.2 cm. Musée du quai Branly, Paris. Post-Impressionism.

721. Paul Gauguin, 1848-1903, French, A Tahitian Woman with a Flower in Her Hair, c. 1891-1892. Charcoal, pastel, and wash, 39 x 30.2 cm The Metropolitan Museum of Art, New York. Post-Impressionism.

721

PAUL GAUGUIN (Paris, 1848 - Hiva Oa, Marquesas Islands, 1903) Paul Gauguin was first a sailor, then a successful stockbroker in Paris. In 1874 he began to paint at weekends as a Sunday painter. Nine years later, after a stock-market crash, he felt confident of his ability to earn a living for his family by painting and he resigned his position and took up the painter’s brush full time. Following the lead of Cézanne, Gauguin painted still-lifes from the very beginning of his artistic career. He even owned a still-life by Cézanne, which is shown in Gauguin’s painting Portrait of Marie Lagadu. The year 1891 was crucial for Gauguin. In that year he left France for Tahiti, where he stayed until 1893. This stay in Tahiti determined his future life and career, for in 1895, after a sojourn in France, he returned there for good. In Tahiti, Gauguin discovered primitive art, with its flat forms and violent colours, belonging to an untamed nature. With absolute sincerity, he transferred them onto his canvas. His paintings from then on reflected this style: a radical simplification of drawing; brilliant, pure, bright colours; an ornamental type composition; and a deliberate flatness of planes. Gauguin termed this style ‘synthetic symbolism’.

384

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:438:47 AM AM Page Page 385385

— 19 CENTURY — TH

722

723

724

722. Edgar Degas, 1834-1917, French, Woman Washing in the Bath, c. 1892. Coloured pencils and pastel on cardboard, 31.8 x 47.4 cm. Musée d’Orsay, Paris. Impressionism. 723. Berthe Morisot, 1841-1895, French, Study for The Piano, c. 1890. Pastel. Private collection. Impressionism. 724. Berthe Morisot, 1841-1895, French, The Cherry-Tree, c. 1891. Watercolour. Private collection. Impressionism.

385

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 12/16/2013 1 12/17/2013 3:558:47 PM AM Page Page 386386

725

726

725. Joseph Maria Olbrich, 1867-1908, Austrian, View of Il Gesù from the Palazzo Venezia, Rome, 1893-1894. Pencil, ink, and red chalk on paper, 29.5 x 20.5 cm. Städtische Kunstsammlung Darmstadt, Darmstadt. Vienna Secession.

726. Aubrey Beardsley, 1872-1898, British, How King Arthur Saw the Questing Beast and thereof Had Great Marvel, 1893. Pen and ink and wash, 37.8 x 27 cm. Victoria and Albert Museum, London. Symbolism.

727

727. Ilya Repin, 1844-1930, Russian, Portrait of Actress Eleonora Duse, 1891. Charcoal on canvas, 103 x 139 cm. The State Tretyakov Gallery, Moscow. Realism.

728. Vincent van Gogh, 1853-1890, Dutch, Pollard Birches, 1884. Pencil, ink, and watercolour on paper, 39 x 54 cm. Van Gogh Museum, Amsterdam. Post-Impressionism.

729. Maurice Denis, 1870-1943, French, April, 1894. Watercolour on paper, 18 x 18 cm. Private collection. Nabis.

730. Edvard Munch, 1863-1944, Norwegian, Portrait of August Strindberg, 1893. Blue pencil on paper, 17.7 x 19.3 cm. Pérez Simón Collection, Mexico City. Expressionism.

386

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:448:47 AM AM Page Page 387387

— 19 CENTURY — TH

728

729

730

387

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/25/2013 1 12/17/2013 9:008:47 AM AM Page Page 388388

731

732

733

731. Koloman Moser, 1868-1918, Austrian, Redaktion Prosit - Illustration with Self-Portrait, c. 1895. Indian ink on paper, 42 x 34 cm. Sammlungen der Universität für Angewandte Kunst, Vienna. Symbolism, Vienna Secession. 732. Aubrey Beardsley, 1872-1898, British, Illustration for Act II of Wagner’s Siegfried, c. 1892-1893. Pen, ink, and wash on paper, 41.4 x 30.1 cm. Victoria and Albert Museum, London. Symbolism. 733. Aubrey Beardsley, 1872-1898, British, Salome with the Head of St. John the Baptist (illustration for Oscar Wilde’s Salome), date unknown. Pen and ink on paper, 27.8 x 14.8 cm. Aubrey Beardsley Collection, Princeton University Library, New Jersey. Symbolism.

388

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:448:47 AM AM Page Page 389389

— 19 CENTURY — TH

734

734. Félix Vallotton,1865-1925, Swiss, Street Scene in Paris (Coin de rue à Paris), 1895. Gouache and oil on cardboard, 35.9 x 29.5 cm. The Metropolitan Museum of Art, New York. Nabis.

FÉLIX VALLOTTON

(Lausanne, 1865 - Paris, 1925) The ‘foreign Nabi’ stood out among the members of the Nabi group, not so much because of his non-French extraction but because of his manner of painting which was quite unlike that of his fellow artists. For this reason some critics have regarded his affiliation with the Nabis as purely formal. Vallotton displayed his talent to the full from the very outset of his career. As a boy of sixteen, he amazed his teachers in Lausanne with a study of an old man’s head, executed with a sure hand. Soon afterwards he moved to Paris. As far back as 1885, when Vallotton first showed his works at the Salon des Artistes Français, he drew the attention of art critics. However, both at that time and for years to come, progressive artists who advocated the supremacy of pictorial effect and the unrestrained use of colours looked on his manner as something retrograde. Signac, who could not bear smoothness and ‘blew up’ his surfaces with divided strokes, regarded Vallotton’s brushwork as the complete antithesis of his own style and, indeed, of everything that derived from Impressionism. But the young Swiss, who had arrived in Paris when the Impressionists were still striving for recognition, did not know them, or at least had no wish to do so. That was not because he was wholly ‘indoctrinated’ by Jules Lefebvre, Bouguereau and Boulanger at the Académie Julian; in fact, he preferred going to the Louvre and making copies of Antonello da Messina, Leonardo da Vinci and Albrecht Dürer. Vallotton’s art is indispensable for any student of life in that period: the accuracy of his details never needs to be questioned; the design, mood and, with rare exception, bitter astringency of his work set him apart, not only among the Nabis, but among other contemporaries too. His deliberate objectivity and emphatically dispassionate observation, expressed in meticulous draughtsmanship and inexpressive texture, link him not only with the Naturalism of the 19th century, but also with the tendencies of the 20th. It is natural, therefore, that public interest in his work has tended to grow whenever there was a turn towards the concrete, material aspect in the arts, be it the 1920s, with their renewed materialism, or the 1970s, with their hyper-realism and other semi-naturalistic trends.

389

Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/25/2013 9:008:47 AM AM Page 390390 F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 Page

735

AUBREY BEARDSLEY

(Brighton, 1872 - Menton, 1898) The artistic and musical gifts of the Beardsley children, Aubrey and his sister Mable, were detected early on. The young Aubrey, however, suffered from tuberculosis and experienced an attack at age nine, the first of a long series of crises that would leave him paralysed several times during his life. Beardsley’s first foray into the art world was a meeting with the famous painter Sir Edward Burne-Jones. Greatly impressed by Beardsley’s drawings, Burne-Jones advised the young artist to take evening classes at the Westminster School of Art. His meeting of Oscar Wilde in 1893 was decisive. Wilde’s scandalous play Salome was published in French in 1894 and Beardsley produced the black and white illustrations for the English translation made by Lord Alfred Douglas. Beardsley rapidly felt the need to develop new modes of expression. To this end, he got involved in the English translation of Wilde’s text. In response to his enthusiasm, Oscar Wilde made a copy of the play that he dedicated to Beardsley. Nevertheless, Wilde’s enchantment with young Beardsley’s art diminished when the illustrated edition came out. Wilde felt Beardsley’s Art Nouveau style drawings showed too much Japanese influence, which was inappropriate for a Byzantine work. In truth Wilde was concerned about the illustrations’ impact: Beardsley’s drawings were so strong on their own, independent from the text, that they eclipsed the author’s work. The arrival of the first volume of The Yellow Book, which they published along with Henry Harland, definitively established Beardsley’s reputation. The magazine was a success among readers, but critics found it indecent and attacked it. At the same time, Wilde was becoming increasingly resentful of Beardsley’s growing involvement in the project. As a result, Beardsley left The Yellow Book in April of 1895 and would henceforth have no more contact with Wilde. Afterwards, Beardsley met Leonard Smithers, primarily known for his erotic publications. Together they founded a journal called The Savoy, which allowed Beardsley to express himself through both drawing and writing. When publication ended in December 1896, Beardsley continued to illustrate other authors for Smithers, who ended up publishing an album of Beardsley’s works. With his health declining, Beardsley travelled to the south of France, but the gentle climate failed to produce the doctor’s prescribed effects. On the night of 15 or 16 March 1898, Beardsley died at the age of twenty-five, either as a result of his illness, or by his own hand, as a result of his weariness. Despite too short a career, the innovative style of Beardsley’s drawings had a significant impact on Art Nouveau, to which he offered a vision in black and white that was both individual and striking.

390

Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout 1 11/25/2013 8:598:47 AM AM Page 391391 F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 Page

— 19 CENTURY — TH

736

737

736. Henri de Toulouse-Lautrec, 1864-1901, French, Yvette Guilbert, 1894. Oil on cardboard, 186 x 93 cm. Musée Toulouse-Lautrec, Albi. Post-Impressionism.

737. Henri de Toulouse-Lautrec, 1864-1901, French, Jane Avril, 1899. Pencil on white paper, 55.8 x 37.6 cm. Private collection. Post-Impressionism.

735. Aubrey Beardsley, 1872-1898, British, The Toilet of Salome (illustration for Oscar Wilde’s Salome), 1894. Pen and ink on paper, 34.3 x 27.3 cm. British Museum, London. Symbolism.

391

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:458:47 AM AM Page Page 392392

738

740

739

738. Odilon Redon, 1840-1916, French, Head of Christ, 1895. Charcoal, black pastel, and black crayon, 52.2 x 37.9 cm. British Museum, London. Symbolism.

739. Aubrey Beardsley, 1872-1898, British, The Abbé, 1895. Indian ink on paper, 25 x 17.5 cm. Victoria and Albert Museum, London. Symbolism.

740. Giovanni Segantini, 1858-1899, Italian, Self-Portrait, 1895. Charcoal with gold dust and chalk on canvas, 59 x 50 cm. Segantini Museum, St. Moritz. Symbolism.

741. Edvard Munch, 1863-1944, Norwegian, Mermaid (Sad Man and Mermaid), c. 1896-1902. Pastel and wash on paper, 24.5 x 33.5 cm. Private collection. Expressionism.

742. Alphonse Mucha, 1860-1939, Czech, Design for June Cover, 1899. Pencil and wash with white, 40.1 x 32.1 cm. Mucha Trust Collection. Art Nouveau.

743. Henri de Toulouse-Lautrec, 1864-1901, French, Chocolat Dancing at the “Irish American Bar”, 1896. Indian ink on paper, 65 x 50 cm. Musée Toulouse-Lautrec, Albi. Post-Impressionism.

392

Drawings_19th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 8:47 F_The Book Drawings_19th_4C_04 Nov 2013_Layout 10/1/2014 1 10:11 AM Page 393AM Page 393

— 19 CENTURY — TH

741

742

743

393

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:458:47 AM AM Page Page 394394

744. Gustav Klimt, 1862-1918, Austrian, Fish Blood (illustration for Ver Sacrum), 1897-1898. Brush and black ink, black chalk, heightened with white on paper. Private collection. Symbolism, Vienna Secession.

745. Gustav Klimt, 1862-1918, Austrian, Allegory of Sculpture, 1896. Black pencil, graphite pencil lead, wash and gold, 41.8 x 31.3 cm. Kunsthistorisches Museum Wien, Vienna. Symbolism, Vienna Secession.

746. Gustav Klimt, 1862-1918, Austrian, Allegory of Tragedy, 1897. Black chalk, pencil, and gold on paper, 41.9 x 30.8 cm. Wien Museum, Vienna. Symbolism, Vienna Secession.

747. Gustav Klimt, 1862-1918, Austrian, Nuda Veritas, 1898. Ink on paper, 41 x 10 cm. Wien Museum, Vienna. Symbolism, Vienna Secession. 744

GUSTAV KLIMT

(Baumgarten, 1862 - Vienna, 1918) “I am not interested in myself as a subject for painting, but in others, particularly women…” Beautiful, sensuous and above all erotic, Gustav Klimt’s paintings speak of a world of opulence and leisure, which seems aeons away from the harsh, post-modern environment we live in now. The subjects he treats – allegories, portraits, landscapes and erotic figures – contain virtually no reference to external events, but strive rather to create a world where beauty, above everything else, is dominant. His use of colour and pattern was profoundly influenced by the art of Japan, ancient Egypt, and Byzantium. The flat, two-dimensional perspective of his paintings, and the frequently stylised quality of his images form an oeuvre imbued with a profound sensuality and one where the figures of women, above all, reign supreme. Klimt’s very first works brought him success at an unusually young age. Gustav, born in 1862, obtained a state grant to study at Kunstgewerbeschule (the Vienna School of Arts and Crafts) at the age of fourteen. His talents as a draughtsman and painter were quickly noticed, and in 1879 he formed the Künstlercompagnie (Artists’ Company) with his brother Ernst and another student, Franz Matsch. The latter part of the 19th century was a period of great architectural activity in Vienna. In 1857, the Emperor Franz Joseph had ordered the destruction of the fortifications that had surrounded the medieval city centre. The Ringstrasse was the result, a budding new district with magnificent buildings and beautiful parks, all paid for by public expenses. Therefore the young Klimt and his partners had ample opportunities to show off their talents, and they received early commissions to contribute to the decorations for the pageant organised to celebrate the silver wedding anniversary of the Emperor Franz Joseph and the Empress Elisabeth. In 1894, Matsch moved out of their communal studio, and in 1897 Klimt, together with his closest friends, resigned from the Künstlerhausgenossenschaft (the Cooperative Society of Austrian Artists) to form a new movement known as the Secession, of which he was immediately elected president. The Secession was a great success, holding both a first and second exhibition in 1898. The movement made enough money to commission its very own building, designed by the architect Joseph Maria Olbrich. Above the entrance was its motto: “To each age its art, to art its freedom.” From around 1897 onward, Klimt spent almost every summer on the Attersee with the Flöge family. These were periods of peace and tranquillity in which he produced the landscape paintings constituting almost a quarter of his entire oeuvre. Klimt made sketches for virtually everything he did. Sometimes there were over a hundred drawings for one painting, each showing a different detail – a piece of clothing or jewellery, or a simple gesture. Just how exceptional Gustav Klimt was is perhaps reflected in the fact that he had no predecessors and no real followers. He admired Rodin and Whistler without slavishly copying them, and was admired in turn by the younger Viennese painters Egon Schiele and Oskar Kokoschka, both of whom were greatly influenced by him.

394

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:458:47 AM AM Page Page 395395

— 19 CENTURY — TH

745

746

747

395

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 12/17/2013 9:458:47 AM AM Page Page 396396

748

749

750

748. Paul Cézanne, 1839-1906, French, Portrait of Ambroise Vollard, 1899. Pencil on paper, 45.8 x 39.8 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Post-Impressionism.

749. Henri de Toulouse-Lautrec, 1864-1901, French, At the Circus: Trained Pony and Baboon, 1899. Black pastel with stumping, coloured pencil, and graphite on cream wove paper, 43.9 x 26.7 cm. Art Institute of Chicago, Chicago. Post-Impressionism.

750. Maximilien Luce, 1858-1941, French, Portrait of Henri-Edmond Cross, c. 1897-1898. Charcoal and grey crayon on cream laid paper mounted on board, 30.5 x 22.8 cm. The Metropolitan Museum of Art, New York. Post-Impressionism.

751. Henri de Toulouse-Lautrec, 1864-1901, French, At the Circus: The Salute, 1899. Graphite, black chalk, coloured chalk, and coloured crayons on paper, 35.6 x 25.4 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Post-Impressionism.

396

F_The Book Drawings_19th_ENG_P-OK(P-5)_13 Drawings_19th_ENG_P-1_04 Nov 2013_4C:Layout Dec 2013_Layout 1 11/20/2013 1 3/12/20149:45 2:18 AM PMPage Page 397 397

— 19 CENTURY — TH

751

HENRI DE TOULOUSE-LAUTREC (Albi, 1864 - Saint-André-du-Bois, 1901)

Toulouse-Lautrec studied with two of the most admired academic painters of the day, Léon Bonnat and Fernand Cormon. Lautrec’s time in the studios of Bonnat and Cormon had the advantage of introducing him to the nude as a subject. At that time life-drawing of the nude was the basis of all academic art training in 19th-century Paris. While still a student, Lautrec began to explore Parisian nightlife, which was to provide him with his greatest inspiration, and eventually undermined his health. Lautrec was an artist able to stamp his vision of the age in which he lived upon the imagination of future generations. Just as we see the English court of Charles I through the eyes of Van Dyck and the Paris of Louis-Philippe through the eyes of Daumier, so we see the Paris of the 1890s and its most colourful personalities through the eyes of Lautrec. The first great personality of Parisian nightlife whom Lautrec encountered – and a man who was to play an important role in helping Lautrec develop his artistic vision – was the cabaret singer Aristide Bruant. Bruant stood out as a heroic figure in what was the golden age of Parisian cabaret. Among the many other performers inspiring Lautrec in the 1890s were the dancers La Goulue and Valentin-le-Desossé (who both appear in the famous Moulin Rouge poster), Jane Avril and Loïe Fuller, the singers Yvette Guilbert, May Belfort and Marcelle Lender, and the actress Réjane. Lautrec was, along with Degas, one of the great poets of the brothel. Degas explored the theme in the late 1870s in a series of monotype prints that are among his most remarkable and personal works. He depicts the somewhat ungainly posturing of the prostitutes and their clients with human warmth and a satirical humour that brings these prints closer to the art of Lautrec than anything else by Degas. However, the truthfulness with which Lautrec portrayed those aspects of life that most of his more respectable contemporaries preferred to sweep under the carpet naturally caused offence. The German critic Gensel probably spoke for many when he wrote: “There can of course be no talk of admiration for someone who is the master of the representation of all that is base and perverse. The only explanation as to how such filth – there can be no milder term for it – as Elles can be publicly exhibited without an outcry of indignations being heard is that one half of the general public does not understand the meaning of this cycle at all, and the other is ashamed of admitting that it does understand it.”

397

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 11:37 AM Page 398

752

398

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:3710:33 AM Page AM Page 399 399

20th Century he freedom advocated by the Romantics and their successors during the 19th century had its logical outcome in the artistic revolutions of the 20th century. The period reaching from 1900 to 1939 witnessed the birth of an unprecedented number of art movements: some were simply groups of like-minded artists who joined to exhibit their works; others were more tightly-knitted, like military commandos, hence the term avant-garde used to define them. It is needless to say that any attempt to put together some kind of common art theory for all these different groups of artists would have proved completely useless. It was thought it a good idea, therefore, to use as a reference for the frenetic 20th century the theories of an artist like Paul Klee. He was as modern as any of his contemporaries, but repels categorisation like few others. Maybe in Klee’s words the reader can find some sort of poetic common ground that almost all modern artists could subscribe to:

T

“I. Art does not reproduce the visible but makes visible. The very nature of graphic art lures us to abstraction, readily and with reason. [...] “Formal elements of graphic art are: points and linear, plane, and spatial energies. [...] “II. Let us develop: let us draw up a topographical plan and take a little journey to the land of better understanding. The first act of movement (line) takes us far beyond the dead point. After a short while we stop to get our breath (interrupted line or, if we stop several times, an articulated line). And now a glance back to see how far we have come (counter-movement). We consider the road in this direction and in that (bundles of lines). A river is in the way, we use a boat (wavy motion). Farther upstream we should have found a bridge (series of arches). On the other side we meet a man of like mind, who also wants to go where better understanding is to be found. At first we are so delighted that we agree (convergence), but little by little differences arise (two separate lines are drawn). A certain agitation on both sides (expression, dynamics, and psyche of the line). “We cross an unploughed field (area traversed by lines), then a dense wood. He gets lost, searches, and once even describes the classical movement of a running dog. I am no longer quite calm either: another river with fog (spatial element) over it. But soon the fog lifts. Some basket-weavers are returning

home with their carts (the wheel). Accompanied by a child with the merriest curls (spiral movement). Later it grows dark and sultry (spatial element). A flash of lightning on the horizon (zigzag line). Over us there are still stars (field of points). Soon we come to our original lodging. Before we fall asleep, a number of memories come back to us, for a short trip of this kind leaves us full of impressions. “All sorts of lines. Spots. Dots. Smooth surfaces. Dotted surfaces, shaded surfaces. Wavy movement. Constricted, articulated movement. Countermovement. Network and weaving. Brickwork, fish-scales. Solo. Chorus. A line losing itself, a line growing stronger (dynamics). “The happy equanimity of the first stretch, then the inhibitions, the nervousness! Restrained trembling, the caress of hopeful breezes. Before the storm, the gadflies’ attack. The fury, the murder. The good cause a guiding thread, even in the thick of twilight. The lightning shaped like the fever curve. Of a sick child... Long ago. [...] “IV. All becoming is based on movement. In Lessing’s Laocoon, on which we wasted a certain amount of intellectual effort in our younger days, a good deal of fuss is made about the difference between temporal and spatial art. But on closer scrutiny the fuss turns out to be mere learned foolishness. For space itself is a temporal concept. “When a point turns into movement and line – that takes time. Or when a line is displaced to form a plane. And the same is true of the movement of planes into spaces. “Does a picture come into being all at once? No, it is built up piece by piece, the same as a house. “And what about the beholder: does he finish with a work all at once? (Often yes, unfortunately.) “V. Formerly, artists depicted things that were to be seen on the earth, things people like to see or would liked to have seen. Now the relativity of visible things is made clear, the belief expressed that the visible is only an isolated case taken from the universe and that there are more truths unseen than seen. Things appear enlarged and multiplied and often seem to contradict the rational experience of yesterday. An effort is made to give concrete form to the accidental.”

Paul Klee, “Creative Credo”, 1920

752. Edgar Degas, 1834-1917, French, Dancer with a Fan, c. 1900-1905. Pastel, 51 x 38 cm. Private collection. Impressionism.

399

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 3/12/2014 11:38 2:21 AM PMPage Page 400 400

753

754

753. Alphonse Mucha, 1860-1939, Czech, Study of a Woman Sitting in an Armchair, c. 1900. Ink drawing on paper, 60.5 x 43.5 cm. Mucha Museum, Prague. Art Nouveau.

754. Alphonse Mucha, 1860-1939, Czech, Woman Holding Mistletoe, 1902. Ink drawing and white highlights on paper, 46 x 33 cm. Mucha Museum, Prague. Art Nouveau.

ALPHONSE MUCHA

(Ivančice, 1860 - Prague, 1939) Alphonse Mucha was a Czech decorative artist and painter best known for influencing the French Art Nouveau movement in the 19th century. His artistic career began when he moved to Paris in 1887 and began studying at the Académie Julian. His first lithographed poster was printed in 1895 and was an overnight sensation. Mucha’s ‘new style’ became the highlight of Parisian art with his beautiful, robust women in long flowing gowns surrounded by undulating lines, flowers and muted colours. During his career he created a flurry of paintings, posters, advertisements, designs for carpets, jewellery and wallpapers, as well as costumes and sets for the famous actress, Sarah Bernhardt. Later on in his career he spent many years working on his life’s artistic masterpiece called the Slav Epic, which is currently on display in the château Moravský Krumlov.

400

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4010:33 AM Page AM Page 401 401

— 20 CENTURY — TH

755

755. Edvard Munch, 1863-1944, Norwegian, The Dance of Life, c. 1900. Coloured pencils on paper, 25.6 x 40.8 cm. Private collection. Expressionism.

EDVARD MUNCH

(Løten, 1863 - Ekely, 1944) Edvard Munch, born in 1863, was Norway’s most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief. During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Postimpressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1890s, his style developed a ‘Synthetist’ idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity’s spiritual and existential anguish. He painted different versions of it. During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal pictures. His work often included the symbolic portrayal of such themes as misery, sickness, and death, and the poses of his figures in many of his portraits were chosen in order to capture their state of mind and psychological condition. It also lends a monumental, static quality to the paintings. In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings invoked bitter controversy at the show, and after one week the exhibition closed. In the 1930s and 1940s, the Nazis labeled his work ‘degenerate art’, and removed his works from German museums. This deeply hurt the anti-fascist Munch, who had come to feel Germany was his second homeland. In 1908 Munch’s anxiety had become acute and he was hospitalised. He returned to Norway in 1909 and died in Oslo in 1944.

401

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 11:40 AM Page 402

756

402

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4010:33 AM Page AM Page 403 403

— 20 CENTURY — TH

757

758

759

756. Ernst Ludwig Kirchner, 1880-1938, German, Reclining Nude (Isabella), 1906. Charcoal on paper, 90 x 69 cm. Graphische Sammlung, Museumslandschaft Hessen Kassel, Kassel. Expressionism, Die Brücke.

757. Auguste Rodin, 1840-1917, French, Two Female Nudes, c. 1900. Pencil and watercolour, 31.3 x 20.5 cm. Albertina, Vienna. Expressionism.

758. Gustav Klimt, 1862-1918, Austrian, Two Lovers (study for the Beethoven Frieze), 1902. Black pencil on paper, 45 x 30.8 cm. Private collection. Symbolism, Vienna Secession.

759. Ernst Ludwig Kirchner, 1880-1938, German, Reclining Nude from Behind on a Sofa, c. 1904. Charcoal on paper, 69.3 x 90 cm. Private collection. Expressionism, Die Brücke.

403

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4010:33 AM Page AM Page 404 404

760

760. Leon Bakst, 1866-1924, Russian, Portrait of Konstantin Somov, 1906. Charcoal, chalk on paper and cardboard, 32.5 x 26.7 cm. The State Tretyakov Gallery, Moscow. Post-Impressionism.

404

Drawings_20th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 G_The Book Drawings_20th_4C_12 Nov 2013_Layout 3/20/2014 1 4:24 PM Page 10:33 405 AM Page 405

— 20 CENTURY — TH

761

762

761. Valentin Serov, 1865-1911, Russian, Portrait of Maria Pavlovna Botkina, 1905. Black, white, and red chalk on grey paper, 97 x 71.5 cm. State Russian Museum, St Petersburg. Post-Impressionism.

762. Valentin Serov, 1865-1911, Russian, Portrait of the Poet Konstantin Dmitriyevich Balmont, 1905. Pastel on grey paper on cardboard, 72.5 x 41.5 cm. The State Tretyakov Gallery, Moscow. Post-Impressionism.

VALENTIN SEROV

(St. Petersburg, 1865 - Moscow, 1911) Among the ‘young peredvizhniki’ who joined the World of Art group, the most brilliant portraitist was Valentin Serov. Like many of his contemporaries, he delighted in painting out of doors, and some of his most appealing portraits – such as Girl with Peaches, Girl in Sunlight and In Summer - owe their naturalness to their setting or to the interplay of sunlight and shadows. Indeed, Serov regarded them as ‘studies’ rather than portraits, giving them descriptive titles that omitted the sitter’s name. The subject of Girl with Peaches – painted when Serov was only twenty-two – was in fact Mamontov’s daughter Vera. The model for In Summer was Serov’s wife. When only six years old, Serov began to display signs of artistic talent. At nine years old, Repin acted as his teacher and mentor, giving him lessons in his studio in Paris, then let Serov work with him in Moscow, almost like an apprentice. Eventually Repin sent him to study with Pavel Chistiakov – the teacher of many of the World of Art painters, including Nesterov and Vrubel. Chistiakov was to become a close friend. Because Serov’s career spanned such a long period, his style and subject matter vary considerably, ranging from voluptuous society portraits (the later ones notable for their grand style and sumptuous dresses) to sensitive studies of children. Utterly different from any of these is the famous nude study of the dancer Ida Rubinstein, in tempera and charcoal on canvas, which he painted towards the end of his life. Although Serov’s early style has much in common with the French Impressionists, he did not become acquainted with their work until after he had painted pictures such as Girl with Peaches.

405

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4110:33 AM Page AM Page 406 406

763

764

763. André Derain, 1880-1954, French, Matisse painting Madame Matisse in a Japanese Dress by the Water, 1905. Pen and ink on paper, 31 x 48 cm. Private collection. Fauvism.

764. Gino Severini, 1883-1966, Italian, Self-Portrait, 1905. Pastel on paper, 35 x 30 cm. Private collection. Naturalism.

765. Leon Bakst, 1866-1924, Russian, Portrait of Andrey Bely, date unknown. Black, white, red and coloured chalks on light brown laid paper, 45.8 x 34 cm. Ashmolean Museum, Oxford. Post-Impressionism.

406

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4110:33 AM Page AM Page 407 407

— 20 CENTURY — TH

765

407

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4110:33 AM Page AM Page 408 408

766

766. André Derain, 1880-1954, French, Figures in a Landscape, c. 1906. Watercolour, 27.5 x 38 cm. Private collection. Fauvism.

767. Henri Matisse, 1869-1954, French, Coast at Collioure, 1905. Watercolour, 20.6 x 26 cm. Private collection. Fauvism. 768. André Derain, 1880-1954, French, Dance, 1906. Watercolour, 50 x 65 cm. Private collection. Fauvism.

ANDRÉ DERAIN

(Chatou, 1880 - Garches, 1954) André Derain was drawn to classical artistic methods, to museums, and to books. “I was possessed by the Louvre,” he wrote, “and not a day would pass without my calling in there... I was in wild raptures about the Primitives. Their art seemed to me to be so true, pure and consummate.” Derain joined the Matisse group for the famous Salon d’Automne exhibition where the term ‘Fauvism’ was coined. He even spent the summer of 1905 working with Matisse in Collioure. The burning colours of southern France and working alongside Matisse revolutionised Derain’s way of seeing colour. In 1907 he moved to Montmartre and witnessed the birth of Cubism, which probably made him take a jaundiced look at all his earlier work. In the years 1909-1910 Derain worked a great deal outdoors in the company of Picasso and Braque. His works of this period show the geometrical approach to form which brought him so very close to Cubism. It was only in 1910 that Derain, somewhat belatedly, turned his attention to the still life. Despite possessing a varied and exquisite collection of applied art from all around the world, Derain limited his still life subjects to bottles, clay pitchers, and glazed vases. These summarise Derain’s search for colour and form and synthesise of all he gained from Cézanne and from Cubism. Derain’s painting was founded on all his immense stock of erudition, his knowledge. His mind was attracted by the erudite path but the world he saw was too gloomy and hopeless, he himself too prey to the torments of discontent and duality. The atmosphere in pre-war Europe intensified Derain’s growing spiritual crisis: “The further I go the more alone I am. And I fear to be abandoned completely.” Quite the opposite to his approach at the beginning of his career: “The aim we [the Fauves] are setting ourselves is happiness, a happiness that we must consistently create.” André Derain’s legacy may be mainly linked to his role in the development of Fauvism, but his activity greatly surpassed this short-lived movement. He was a key figure in Modernist Paris. In 1920, the poet and critic André Salmon invested Derain with the role of ‘regulator’ in contemporary art, Picasso being the ‘animator.’ In any case, if we are to limit his main achievements to his fauve period, let us not forget that Fauvism was the first avant-garde movement of the 20th century and that Derain was one of its leading members.

408

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4110:33 AM Page AM Page 409 409

— 20 CENTURY — TH

767

768

409

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 2:04 10:33 PM Page AM 410 Page 410

769

770

771

769. Richard Gerstl, 1883-1908, Austrian, Self-Portrait, 1908. Black ink on paper, 40 x 29.7 cm. Albertina, Vienna. Expressionism. 770. Konstantin Somov, 1869-1939, Russian, Portrait of Mikhail Kuzmin, 1909. Watercolour and crayon, heightened with white, on paper, 34.2 x 26 cm. The State Tretyakov Gallery, Moscow. Modernism. 771. Edvard Munch, 1863-1944, Norwegian, Friedrich Nietzsche, 1906. Charcoal, pastel, and tempera on paper, 200 x 130 cm. Munch-museet, Oslo. Expressionism. 772. Pablo Picasso, 1881-1973, Spanish, Study for Les Demoiselles d’Avignon, 1907. Pencil on paper, 47.7 x 63.5 cm. Kunstmuseum Basel, Basel. Cubism. 773. Georges Rouault, 1871-1958, French, The Court, 1908. Watercolour and gouache. Private collection. Fauvism. 774. Georges Rouault, 1871-1958, French, The Couple (Mr. and Mrs. Poulot), 1905. Watercolour and gouache. Private collection. Fauvism.

410

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/3/2013 1 12/17/2013 10:0810:33 AM Page AM Page 411 411

— 20 CENTURY — TH

772

773

774

411

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4210:33 AM Page AM Page 412 412

775

412

775. Pablo Picasso, 1881-1973, Spanish, Study for Head of a Woman (Fernande Olivier), 1909. Pen and ink on paper, 62 x 48 cm. Musée national Picasso, Paris. Cubism.

777. Pablo Picasso, 1881-1973, Spanish, Houses and Palm Trees, 1909. Pen and ink on paper, 17 x 13 cm. Musée national Picasso, Paris. Cubism.

776. Oskar Kokoschka, 1886-1980, Austrian, Nude Standing Girl, Left Hand on Chin, 1907. Pencil and watercolour on paper, 44.9 x 31.5 cm. Nordico Stadtmuseum Linz, Linz. Expressionism.

778. Othon Friesz, 1879-1949, French, The Port at Cassis, 1907. Watercolour, 32 x 45 cm. Private collection. Fauvism.

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4310:33 AM Page AM Page 413 413

— 20 CENTURY — TH

776

777

778

413

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4310:33 AM Page AM Page 414 414

779 780

779. Othon Friesz, 1879-1949, French, Landscape, 1907. Watercolour and pencil, 26 x 36.5 cm. Private collection. Fauvism.

780. Raoul Dufy, 1877-1953, French, Children Playing in a Park, 1908. Watercolour, 24.1 x 31.2 cm. Private collection. Fauvism.

781. André Derain, 1880-1954, French, Women Bathing, 1906. Watercolour, 61.5 x 46 cm. Private collection. Fauvism.

414

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4310:33 AM Page AM Page 415 415

— 20 CENTURY — TH

781

415

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/5/2013 2:31 PM Page 416

782

783

416

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4310:33 AM Page AM Page 417 417

— 20 CENTURY — TH

784

785 786

782. Félix Vallotton, 1865-1925, Swiss, Nude Lying with a Mirror, 1909. Pencil on paper. Private collection. Nabis.

783. Valentin Serov, 1865-1911, Russian, The Dancer Ida Rubinstein, 1910. Pencil on paper, 26.7 x 42.4 cm. The State Tretyakov Gallery, Moscow. Modernism.

784. Pierre Bonnard, 1867-1947, French, The Painter’s Life - The Artist’s Childhood - The Julian Academy - In Paris, c. 1910. Graphite pencil, pen and ink, and wash on paper, 31.5 x 24 cm. Musée d’Orsay, Paris. Modernism.

785. Egon Schiele, 1890-1918, Austrian, Schiele With a Nude Model Standing in Front of a Mirror, 1910. Pencil on brown paper, 55.1 x 35.3 cm. Albertina, Vienna. Expressionism.

786. Egon Schiele, 1890-1918, Austrian, Portrait of the Composer Arthur Loewenstein, 1909. Coloured pencils and charcoal. Private collection. Expressionism.

417

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4310:33 AM Page AM Page 418 418

787. Franz Marc, 1880-1916, German, Boys with Horses and a Dog, 1911. Black chalk, 17 x 21.5 cm. Private collection. Expressionism, Der Blaue Reiter.

788. Franz Marc, 1880-1916, German, Two Horses in a Mountanious Landscape, 1910-1911. Pencil, 21 x 16.8 cm. Staatliche Graphische Sammlung, Munich. Expressionism, Der Blaue Reiter. 787

788

FRANZ MARC

(Munich, 1880 - Verdun, 1916) During his lifetime Franz Marc was widely regarded as one of the most promising German painters of his generation. His death in the First World War was mourned as a bitter loss for the art world. It was also a deep personal loss for his surviving friends, Klee and Kandinsky - his other close friend from the Der Blaue Reiter circle, Macke, had died before him on the battlefield. As a young student, Marc had intended to study philosophy and theology. Then, in 1900, he decided to become a painter instead, and registered at the Munich Art academy. Marc’s early work was relatively naturalistic, but it showed evidence of his admiration for Van Gogh and Gauguin, whose works he had seen at first hand in Paris. He painted and made some prints and small sculptures. Most of his subjects came from nature. They were landscapes, a few nudes and, increasingly, the animals that would become so central and distinctive in his work. By around 1908 he was starting to intensify his exploration of the movement, behaviour and character of animals. He would spend hours observing and sketching cows and horses in the Bavarian pastures, and watching deer in the wild. As he matured as an artist, in keeping with Expressionism’s tendency to deal in universals – fundamental ethical issues and philosophies – Marc’s intellectual concerns were with a future age of ‘the spiritual’ and with the redemptive function of art in the modern society that he and his friends found so shallow and materialistic. Seeking a deeper experience of the ineffable, Marc verbalised it once to his friend Kandinsky: “I want to try to think the thoughts that dance behind a black curtain”.

418

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 10:33 Drawings_20th_4C_12 Nov 2013_Layout 10/20/201415:01 PM Page 419 AM Page 419

— 20 CENTURY — TH

789 790

789. Valentin Serov, 1865-1911, Russian, Gabriele d’Annunzio, Ida Rubinstein and Natalia Golubeva, 1910-1911. Black chalk on paper, 26.8 x 43 cm. The State Tretyakov Gallery, Moscow. Post-Impressionism.

790. Amedeo Modigliani, 1884-1920, Italian, Study for The Horsewoman, 1909. Pencil, 30 x 22.3 cm. Private collection. Modernism.

419

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 11:44 AM Page 420

791

792

420

Drawings_20th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 G_The Book Drawings_20th_4C_12 Nov 2013_Layout 3/20/2014 1 4:26 PM Page 10:33 421 AM Page 421

— 20 CENTURY — TH

794

795

793

791. Umberto Boccioni, 1882-1916, Italian, Study for The City Rises, 1910. Crayon, chalk, and charcoal on paper, 58.8 x 86.7 cm. The Museum of Modern Art, New York. Futurism.

792. Umberto Boccioni, 1882-1916, Italian, States of Mind: Those Who Stay, c. 1911. Charcoal and conté crayon on paper, 58.4 x 86.3 cm. The Museum of Modern Art, New York. Futurism.

793. Pablo Picasso, 1881-1973, Spanish, Standing Female Nude, 1910. Charcoal on paper, 48.3 x 31.4 cm. The Metropolitan Museum of Art, New York. Cubism.

794. Henri Matisse, 1869-1954, French, Girl with Tulips (Jeanne Vaderin), c. 1910. Charcoal on paper, 73 x 58.4 cm. The Museum of Modern Art, New York. Modernism.

795. Marc Chagall, 1887-1985, French, born Russia, Guillaume Apollinaire, 1911. Pencil on paper, 33.5 x 26 cm. Private collection. Modernism.

421

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4510:33 AM Page AM Page 422 422

797

797. Juan Gris, 1887-1927, Spanish, The Smoker, 1913. Charcoal, crayon, and wash on paper, 71.8 x 59.1 cm. The Metropolitan Museum of Art, New York. Cubism.

796

796. Juan Gris, 1887-1927, Spanish, Still Life with Bottle and Funnel, c. 1911. Charcoal on paper, 47.9 x 31.6 cm. The Museum of Modern Art, New York. Cubism.

JUAN GRIS

(Madrid, 1887 - Boulogne-sur-Seine, 1927) Juan Gris was born Juan José Victoriano González Perisies in 1887, and he began his artistic career in the French domain by drawing caricatures for a number of newspapers, such as the Charivari, L’Assiette au beurre, Le Cris de Paris, etc. Thanks to the support and immense influence of Picasso, Gris naturally gravitated towards the Bateau-Lavoir. With Picasso and Braque, he participated in the bohemian life enjoyed by artists that lived on Montmartre for around fifteen years, in company with Kees van Dongen, Max Jacob and Pierre Mac Orlan, among others. In addition to signing a contract with Kahnweiler, Gris saw prosperity when Gertrude Stein, following the example of Léonce Rosenberg, bought a large number of his works. He also knew to surround himself with painters such as Picasso, Modigliani and Matisse, with whom he enjoyed many moments in Collioure, but also entertained poets like Reverdy, Apollinaire and Max Jacob, who he saw often. Sick since adolescence, the artist was always interested in objects more than men. A homebody, he jostled and reinvented all our daily objects, picking them apart one by one all the better to reassemble them, he the great organiser. Suggesting more than it reveals, his work is a subtle ode to metonymy. Understanding the whole poetry of his work, Diaghilev commissioned from him a series of sets and costumes for his Ballets Russes in 1922. In 1924, at the age of thirty-seven, he delivered a lecture at the Sorbonne on “The Possibilities of Painting” and passed away three years later, too young, of a uraemia.

422

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4510:33 AM Page AM Page 423 423

— 20 CENTURY — TH

798

799 800

798. Amedeo Modigliani, 1884-1920, Italian, Caryatid, c. 1912. Pencil on paper, 39.7 x 25.7 cm. Musée des beaux-arts de Dijon, Dijon. Modernism.

799. Man Ray, 1890-1976, American, Nude, 1912. Ink on Paper. Private collection. Modernism.

800. Umberto Boccioni, 1882-1916, Italian, Study for Elasticity, c. 1912. Pencil and gouache on paper, 47.7 x 61.6 cm. The Museum of Modern Art, New York. Futurism.

423

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4510:33 AM Page AM Page 424 424

801

802

803

801. Georges Rouault, 1871-1958, French, Christ Reviled, 1912. Distemper and pastel. Private collection. Modernism.

802. Wassily Kandinsky, 1866-1944, Russian, Final study for the cover of the Blaue Reiter Almanach, 1911. Watercolour, Indian ink and pencil, 27.6 x 21.9 cm. Städtische Galerie im Lenbachhaus, Munich. Expressionism, Der Blaue Reiter.

803. Henri Gaudier-Brzeska, 1891-1915, French, Self-Portrait, 1912. Pencil on paper, 55.9 x 39.4 cm. National Portrait Gallery, London. Vorticism.

804. Wassily Kandinsky, 1866-1944, Russian, With Three Riders, 1911. Ink and watercolour on paper, 25 x 32 cm. Städtische Galerie im Lenbachhaus, Munich. Lyrical abstraction.

424

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4510:33 AM Page AM Page 425 425

— 20 CENTURY — TH

804

WASSILY KANDINSKY

(Moscow, 1866 - Neuilly-sur-Seine, 1944) Kandinsky’s art does not reflect and is not burdened by the fate of other Russian avant-garde masters. He left Russia well before the semi-official Soviet aesthetic turned its back on modernist art. He had been to Paris and Italy, even giving Impressionism its due in his earliest works. However, it was only in Germany that he aspired to study. Kandinsky began working in Murnau in August, 1908. The intensity with which he worked during this period is stunning. In his early Murnau landscapes it is not hard to recognise a Fauvist boiling of colours and an abruptness in their juxtapositioning, the dramatic tension of Expressionism, which was gathering strength at that time, and the insistent texture of Cézanne. Kandinsky was leaving behind the earthly gravitational field of objects for the weightlessness of the abstract world, where the principal coordinates of being up and down, space and weight are lost. In 1911, Kandinsky participated in the foundation of the group Der Blaue Reiter (The Blue Rider). Kandinsky had already acquired a name in his Russian homeland. His text On the Spiritual in Art (1912) was known from lectures and other accounts. When, with the ‘Improvisations’ and ‘Compositions’ of 1915- 1920, Kandinsky made his final break with the object world, he preserved until the early 1930s the feeling of dynamic, even organic, life in his paintings. In the summer of 1922, Kandinsky began teaching at the Weimar Bauhaus. It was then, in the first Bauhaus years, that he began working on his ‘Worlds’, works in which he quite directly contrasted the grandeur of the great and the small. Kandinsky’s fame grew with that of the Bauhaus. Kandinsky determined the essence of what was happening to him in the context of his environment. On the one hand, the presence of surrealistic overtones in his art is unquestionable. Those splendid carnivals of the subconscious, those ‘landscapes of the soul,’ realised in his simultaneously menacing and festive paintings from the 1910s, had already been in partial contact with the poetics of Surrealism. In Russia he had come to know himself as an artist; Russian motifs and sensations nourished his brush for a long time. In Germany he had become a professional and a great master: a transnational master. In France, where he was already welcomed as a world celebrity, he completed brilliantly and a bit dryly what he had begun in Russia and Germany.

425

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4610:33 AM Page AM Page 426 426

805

806

807

805. Wyndham Lewis, 1882-1957, British, The Vorticist, 1912. Watercolour on paper, 61.5 x 48 cm. Southampton City Art Gallery, Southampton. Vorticism.

806. Pablo Picasso, 1881-1973, Spanish, Man with a Hat, after 3 December, 1912. Cut-and-pasted coloured paper and printed paper, charcoal, and ink on paper, 62.2 x 47.3 cm. The Museum of Modern Art, New York. Cubism.

807. Wyndham Lewis, 1882-1957, British, The Courtesan, 1912. Pen and pastels on paper, 57.5 x 42.3 cm. Victoria and Albert Museum, London. Vorticism.

808. Georges Braque, 1882-1963, French, Fruit Dish and Glass, 1912. Collage and charcoal, 60 x 46 cm. Private collection. Cubism.

809. Georges Braque, 1882-1963, French, Man with a Pipe, 1912. Collage and charcoal on paper, 62 x 48.6 cm. Kunstmuseum Basel, Basel. Cubism.

810. Georges Braque, 1882-1963, French, Aria de Bach, 1913. Collage, charcoal and pencil, 62 x 46 cm. Private collection. Cubism.

426

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/3/2013 1 12/17/2013 10:2610:33 AM Page AM Page 427 427

— 20 CENTURY — TH

808

809

GEORGES BRAQUE

(Argenteuil-sur-Seine, 1882 - Paris, 1963) The French painter Georges Braque, born at Argenteuil, near Paris, was one of the major painters of the 20th century. Together with Picasso he was the founder of Cubism. In addition to the pioneering work in Analytical Cubism that he shared with Picasso, he may also be credited with the development of a thoroughly original and exciting version of Cubism intertwined with fauve colour effects. The association of Braque and Picasso was so mutual and their association so intense that in many instances only experts can distinguish Braque’s paintings of 1910-1912 from those of Picasso. The paintings of this period are all executed in muted greens, greys, ochre, and browns. The objects are fragmented, as though seen from multiple viewpoints. Eventually, Picasso and Braque went separate ways. Braque served in World War I, and was seriously injured in 1916. He devoted the rest of his career to the exploration of Cubism. Active until the end of his life, Braque produced an oeuvre that includes sculpture, graphics, book illustration, and decorative art. He certainly was the most consistent of the original Cubist painters and one of the half-dozen greatest painters of the century. 810

427

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 2:39 10:33 PM Page Drawings_20th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 AM 428 Page 428

811 812 813

811. Man Ray, 1890-1976, American, Self-Portrait, 1914. Ink on paper, 42.5 x 30 cm. Private collection. Modernism.

812. Amedeo Modigliani, 1884-1920, Italian, Caryatid Study, c. 1913. Ink and pencil. Private collection. Modernism.

813. Egon Schiele, 1890-1918, Austrian, Self-Portrait, 1912. Pencil, watercolour and gouache, 46.5 x 31.5 cm. Private collection. Expressionism.

814. John Singer Sargent, 1856-1925, American, Henry James, 1912. Charcoal on paper, 61.8 x 41 cm. Royal Collection Trust, London. Naturalism.

428

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/5/2013 1 12/17/2013 2:33 10:33 PM Page AM 429 Page 429

— 20 CENTURY — TH

814

429

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 11:47 AM Page 430

815

430

Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/16/2013 3:5610:33 PM Page 431 431 G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 AM Page

— 20 CENTURY — TH

815. Oskar Kokoschka, 1886-1980, Austrian, Alma Mahler and Oskar Kokoschka, 1913. Charcoal on paper, 43.5 x 31 cm. Leopold Museum, Vienna. Expressionism.

816. Amedeo Modigliani, 1884-1920, Italian, Caryatid, c. 1913. Crayon. Private collection. Modernism.

816

AMEDEO MODIGLIANI

(Livorno, 1884 - Paris, 1920) Amedeo Modigliani was born in Italy in 1884 and died in Paris at the age of thirty-five. From an early age he was interested in nude studies and in the classical notion of ideal beauty. In 1900-1901 he visited Naples, Capri, Amalfi, and Rome, returning by way of Florence and Venice, and studied first-hand many Renaissance masterpieces. He was impressed by trecento (thirteenth century) artists, including Simone Martini (c. 1284-1344), whose elongated and serpentine figures, rendered with a delicacy of composition and colour, and suffused with tender sadness, were a precursor to the sinuous line and luminosity evident in the work of Sandro Botticelli (c. 1445-1510). Both artists clearly influenced Modigliani, who used the pose of Botticelli’s Venus in The Birth of Venus (1482) in his Standing Nude (Venus) (1917) and Red-Haired Young Woman with Chemise (1918), and a reversal of this pose in Seated Nude with Necklace (1917). Modigliani’s debt to the art of the past was transformed by the influence of ancient art (ancient Greek Cycladic figures essentially), the art of other cultures (African for example) and Cubism. Their balanced circles and curves, despite having a voluptuousness, are carefully patterned rather than naturalistic. Their curves are precursors of the swinging lines and geometric approach that Modigliani later used in such nudes as Reclining Nude. Modigliani’s drawings of caryatids allowed him to explore the decorative potential of poses that may not have been possible to create in sculpture. For his series of nudes, Modigliani took compositions from many well-known nudes of High Art, including those by Giorgione (c. 1477-1510), Titian (c. 1488-1576), Jean-Auguste-Dominique Ingres (1780-1867), and Velázquez (1599-1660), but avoided their romanticisation and elaborate decorativeness. Modigliani was also familiar with the work of Francisco de Goya y Lucientes (1746-1828) and Edouard Manet (1832-1883), who had caused controversy by painting real, individual women as nudes, breaking the artistic conventions of setting nudes in mythological, allegorical, or historical scenes.

431

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4710:33 AM Page AM Page 432 432

817

817. Egon Schiele, 1890-1918, Austrian, Reclining Nude with Her Legs Spread Apart, 1914. Pencil, brush and gouache on Japanese paper, 31.4 x 48.2 cm. Albertina, Vienna. Expressionism.

EGON SCHIELE

(Tulln, 1890 - Vienna, 1918) Egon Schiele’s work is so distinctive that it resists categorisation. Admitted to the Vienna Academy of Fine Arts at just sixteen, he was an extraordinarily precocious artist, whose consummate skill in the manipulation of line, above all, lent a taut expressivity to all his work. Profoundly convinced of his own significance as an artist, Schiele achieved more in his abruptly curtailed youth than many other artists achieved in a full lifetime. His roots were in the Jugendstil of the Viennese Secession movement. Like a whole generation, he came under the overwhelming influence of Vienna’s most charismatic and celebrated artist, Gustav Klimt. In turn, Klimt recognised Schiele’s outstanding talent and supported the young artist, who within just a couple of years, was already breaking away from his mentor’s decorative sensuality. Beginning with an intense period of creativity around 1910, Schiele embarked on an unflinching exposé of the human form –not the least his own– so penetrating that it is clear he was examining an anatomy more psychological, spiritual and emotional than physical. He painted many townscapes, landscapes, formal portraits and allegorical subjects, but it was his extremely candid works on paper, which are sometimes overtly erotic, together with his penchant for using under-age models that made Schiele vulnerable to censorious morality. In 1912, he was imprisoned on suspicion of a series of offences including kidnapping, rape and public immorality. The most serious charges (all but that of public immorality) were dropped, but Schiele spent around three despairing weeks in prison. Expressionist circles in Germany gave a lukewarm reception to Schiele’s work. His compatriot, Kokoschka, fared much better there. While he admired the Munich artists of Der Blaue Reiter, for example, they rebuffed him. Later, during the First World War, his work became better known and in 1916 he was featured in an issue of the left-wing, Berlin-based Expressionist magazine Die Aktion. Schiele was an acquired taste. From an early stage he was regarded as a genius. This won him the support of a small group of long-suffering collectors and admirers but, nonetheless, for several years of his life his finances were precarious. He was often in debt and sometimes he was forced to use cheap materials, painting on brown wrapping paper or cardboard instead of artists’ paper or canvas. It was only in 1918 that he enjoyed his first substantial public success in Vienna. Tragically, a short time later, he and his wife Edith were struck down by the massive influenza epidemic of 1918 that had just killed Klimt and millions of other victims, and they died within days of one another. Schiele was just twenty-eight years old.

432

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4810:33 AM Page AM Page 433 433

— 20 CENTURY — TH

819 820

818

818. Egon Schiele, 1890-1918, Austrian, Seated Female Nude, Elbows Resting on Right Knee, 1914. Pencil and gouache on Japanese paper, 48 x 32 cm. Albertina, Vienna. Expressionism.

819. Paul Klee, 1879-1940, Swiss, Kairouan, 1914. Watercolour on paper on cardboard, 22.6 x 23.2 cm. Ulmer Museum, Ulm. Modernism.

820. Jacob Epstein, 1880-1959, British, Study for The Rock Drill, 1913. Black crayon on paper. Ivor Braka collection, London. Vorticism.

433

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4810:33 AM Page AM Page 434 434

823

MARC CHAGALL

(Vitebsk, 1887 - Saint-Paul-de-Vence, 1985)

821 822

434

Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma. A failure in the entrance examination for the Stieglitz School did not stop Chagall from later joining that famous school founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich. Chagall moved to Paris in 1910. The city was his ‘second Vitebsk’. At first, isolated in the little room on the Impasse du Maine at La Ruche, Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, all of whom were to maintain the ‘smell’ of his native land. From his very arrival Chagall wanted to ‘discover everything’. And to his dazzled eyes painting did indeed reveal itself. Even the most attentive and partial observer is at times unable to distinguish the ‘Parisian’ Chagall from the ‘Vitebskian’. The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, and he used his present thoughts and recollections. He had an utterly poetical mode of thought that enabled him to pursue such a complex course. Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure. Admiring the works of others, he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his authenticity for a moment. At times Chagall seemed to look at the world through the magic crystal –overloaded with artistic experimentation– of the École de Paris. In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror. Naturally, it totally and uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani, and the complex surface rhythms recalling the experiments of the early Cubists. Despite the analyses which nowadays illuminate the painter’s Judaeo-Russian sources, inherited or borrowed but always sublime, and his formal relationships, there is always some share of mystery in Chagall’s art. The mystery perhaps lies in the very nature of his art, in which he uses his experiences and memories. Painting truly is life, and perhaps life is painting.

G_The Book BookDrawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov Dec2013_4C:Layout 2013_Layout 1 12/17/2013 1 12/16/2013 10:33 AM 3:49 Page 435 PM

Page 435

— 20 CENTURY — TH

824

821. Giacomo Balla, 1871-1958, Italian, The Flower-Woman or Tree-Woman, 1915. Pencil and gouache on paper. Museo Teatrale, Teatro alla Scala, Milan. Futurism.

823. Marc Chagall, 1887-1985, French, born Russia, The House in the Suburbs, 1914-1915. Indian ink on paper, 15.1 x 14.1 cm. State Russian Museum, St Petersburg. Modernism.

822. Giacomo Balla, 1871-1958, Italian, Mercury Passing in Front of the Sun, c. 1914. Pencil and gouache on paper, 42.1 x 30 cm. The Museum of Modern Art, New York. Futurism.

824. Marc Chagall, 1887-1985, French, born Russia, The Wounded Soldier, 1914. Coloured pencil and ink with pen and brush on paper, 22.8 x 13.3 cm (oval). The State Tretyakov Gallery, Moscow. Modernism.

435

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4810:33 AM Page AM Page 436 436

825

825. Franz Marc, 1880-1916, German, Abstract Composition, 1914. Pencil, pen and ink, 22 x 17 cm. Private collection. Expressionism, Der Blaue Reiter.

436

Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/5/2013 2:34 10:33 PM Page G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 AM 437 Page 437

— 20 CENTURY — TH

826

826. Henri Gaudier-Brzeska, 1891-1915, French, Study for Bird Swallowing a Fish, 1914. Pen and ink on paper, 30.5 x 37 cm. Kettle’s Yard, University of Cambridge, Cambridge. Vorticism.

828

827

827. Marc Chagall, 1887-1985, French, born Russia, Man With a Cat and Woman With a Child, 1914. Ink, pen and whitewash on paper. 22.3 x 17.2 cm. The State Tretyakov Gallery, Moscow. Modernism.

828. Marc Chagall, 1887-1985, French, born Russia, The Departure for the War, 1914. Pen and brush and ink on paper, 21.7 x 17.8 cm. Private collection. Modernism.

437

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 11:49 AM Page 438

829

831

438

830

832

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:4910:33 AM Page AM Page 439 439

— 20 CENTURY — TH

833

829. Marc Chagall, 1887-1985, French, born Russia, The Street Musician, 1914. Ink and watercolour on paper, 27.5 x 21 cm. Private collection. Modernism. 830. Juan Gris, 1887-1927, Spanish, The Packet of Coffee, 1914. Gouache, collage and charcoal, 65 x 47 cm. Ulmer Museum, Ulm. Cubism. 831. George Grosz, 1893-1959, German, The Revolt of the Crazy, 1915. Pen and ink on paper. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Expressionism. 832. George Grosz, 1893-1959, German, The Gold Digger, 1916. Pen and ink on paper, 38.5 x 30 cm. Neue Galerie New York, New York. Expressionism. 833. Egon Schiele, 1890-1918, Austrian, Portrait of the Artist’s Wife, with Hands on Hips, 1915. Pencil on paper, 45.7 x 28.5 cm. Private collection. Expressionism. 834. Giacomo Balla, 1871-1958, Italian, Costume Design, c. 1915. Coloured pencils. Museo Teatrale, Teatro alla Scala, Milan. Futurism.

834

439

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 10:33 Drawings_20th_4C_12 Nov 2013_Layout 10/21/201418:17 AM Page 440 AM Page 440

835 836

837

835. Pablo Picasso, 1881-1973, Spanish, Max Jacob, 1915. Pencil on paper, 33 x 25 cm. Private collection. New Realisms. 836. Amedeo Modigliani, 1884-1920, Italian, Diego Rivera, 1915. Pen and brown and black ink, over graphite on tan wove paper, laid down on buff wove card, 26.6 x 20.7 cm. Art Institute of Chicago, Chicago. Modernism. 837. Francis Picabia, 1879-1953, French, Here, This Is Stieglitz Here, 1915. Ink, graphite and cut-and-pasted papers on paperboard, 75.9 x 50.8 cm. The Metropolitan Museum of Art, New York. Dada. 838. Mikhail Larionov, 1881-1964, Russian, Portrait of Natalia Gontcharova, 1915. Pencil on paper, 42 x 26.5 cm. The State Tretyakov Gallery, Moscow. Modernism. 839. Mikhail Larionov, 1881-1964, Russian, Portrait of Igor Stravinsky, c. 1915. Pencil on paper, 34.7 x 26.3 cm. The State Tretyakov Gallery, Moscow. Modernism. 840. Mikhail Larionov, 1881-1964, Russian, Sergei Diaghilev with Flower, c. 1915-1916. Pencil on paper, 35 x 26.2 cm. The State Tretyakov Gallery, Moscow. Modernism.

440

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5010:33 AM Page AM Page 441 441

— 20 CENTURY — TH

838

839 840

MIKHAIL LARIONOV

(Tiraspol, 1881 - Fontenay-aux-Roses, 1964) A French painter of Russian origin, Larionov trained at the School of Painting, Sculpture and Architecture in Moscow under Levitan, Serov and Korovin. His radicalism led him to be suspended from the school many times. He met Natalia Goncharova at this school in 1900; she became his wife and his associate throughout his long artistic life. At the beginning of the century, his style leaned towards Impressionism. In 1906, at the Salon d’Automne, he discovered the Fauves, including Matisse, Derain and Rouault and was deeply influenced by their work. From then, his style resolutely turned towards Primitivism. He thus founded the Primitivist movement, which was anchored in the tradition of urban folklore. During the first decade of the 20th century, he organised several exhibitions, and was notably one of the organisers of the ‘Golden Fleece’ Show which also exhibited the work of the Fauves. Larionov exhibited alongside Tatlin, Chagall and Malevich. In November 1912, he exhibited his first Rayonist paintings at the World of Art exhibition in Moscow. “Mikhail Larionov [...] has brought not only to Russian painting but also to European painting a new refinement: Rayonism. Here, the light which constitutes the works of art manages to express the most subtle, the most hilarious and the cruellest feelings of modern humanity.” (G. Apollinaire, ‘Exhibition of N. Gontcharova and M. Larionov’, Les Soirées de Paris, 1914, No. 26-27, pp. 370-371). He was therefore the founder of Rayonism, one of the pioneering movements of Russian abstract art. In 1913, he organised the exhibition ‘Authentic Icons and Lubki,’ which included mainly icons and lubki from his personal collection. He was the founder of the Jack of Diamonds group (1909 to 1911) and the Donkey’s Tail (1912 and 1913). After being injured in the First World War, he took exile in France from 29 May 1914, to work with Diaghilev on the creation of the Russian Ballet. He lived in France until the end of his life.

441

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 3:51 PM Page 442

841

842

442

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 3:51 10:33 PM Page AM 443 Page 443

— 20 CENTURY — TH

843 844

841. Franz Marc, 1880-1916, German, Untitled (Fox), 1915. Pencil, 9.8 x 16 cm. Staatliche Graphische Sammlung, Munich. Expressionism, Der Blaue Reiter.

842. Franz Marc, 1880-1916, German, Untitled, 1915. Pencil, 9.8 x 16 cm. Staatliche Graphische Sammlung, Munich. Expressionism, Der Blaue Reiter.

843. Franz Marc, 1880-1916, German, Untitled, 1915. Pencil, 9.8 x 16 cm. Staatliche Graphische Sammlung, Munich. Expressionism, Der Blaue Reiter.

844. Max Beckmann, 1884-1950, German, Self-Portrait, 1915. Pen and ink on paper, 31.7 x 24.3 cm. Staatsgalerie Stuttgart, Stuttgart. New Objectivity.

443

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/3/2013 10:4410:33 AM Page 444 444 Drawings_20th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 AM Page

845

845. Francis Picabia, 1879-1953, French, Girl Born without a Mother, c. 1916-1917. Gouache and metallic paint on printed paper, 50 x 65 cm. Scottish National Gallery of Modern Art, Edinburgh. Dada.

846. Henri Laurens, 1885-1954, French, The Dancer, 1915. Gouache, collage and pencil, 31.5 x 24.5 cm. Galerie Louise Leiris, Paris. Cubism. 847. Paul Klee, 1879-1940, Swiss, Absorption, 1919. Pencil on paper on cardboard, 27 x 19.4 cm. Norton Simon Museum, Pasadena. Modernism. 848. Wassily Kandinsky, 1866-1944, Russian, Composition on Brown, 1919. Watercolour, India ink, pen and white on paper. Pushkin Museum, Moscow. Lyrical abstraction.

444

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5010:33 AM Page AM Page 445 445

— 20 CENTURY — TH

846

847

848

445

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5110:33 AM Page AM Page 446 446

849

849. Egon Schiele, 1890-1918, Austrian, Lying Woman with Black Stockings, 1917. Gouache and black pastel, 29.4 x 46 cm. Private collection. Expressionism.

850

851

850. Raoul Hausmann, 1886-1971, Austrian, Conrad Felixmüller with Mechanical Head, c. 1919. Pencil on paper, 37 x 34.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Dada.

446

851. Umberto Boccioni, 1882-1916, Italian, The Artist’s Mother, 1915. Graphite and watercolour washes on paper, 65.1 x 53 cm. The Metropolitan Museum of Art, New York. Futurism.

Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 3:45 10:33 PM Page G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 AM 447 Page 447

— 20 CENTURY — TH

852

852. Paul Klee, 1879-1940, Swiss, Once Emerged From the Grey of the Night…, 1918. Watercolour, pen and pencil on paper on cardboard, 22.6 x 15.8 cm. Zentrum Paul Klee, Bern. Modernism.

447

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5110:33 AM Page AM Page 448 448

853

854

855

853. Gustav Klimt, 1862-1918, Austrian, Portrait of a Woman, 1917. Oil on canvas, 67 x 56 cm. Lentos Kunstmuseum Linz, Linz. Symbolism, Vienna Secession.

854. Amedeo Modigliani, 1884-1920, Italian, Seated Nude, 1918. Graphite on tan wove paper, 42.7 x 25.1 cm. Art Institute of Chicago, Chicago. Modernism.

855. Amedeo Modigliani, 1884-1920, Italian, Seated Nude, c. 1917. Pencil, 31.2 x 23.9 cm. Private collection. Modernism.

448

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 10:33 Drawings_20th_4C_12 Nov 2013_Layout 10/20/201415:04 PM Page 449 AM Page 449

— 20 CENTURY — TH

857 858

856

856. Amedeo Modigliani, 1884-1920, Italian, Hanka Zborowska, 1917. Pencil, 38 x 24 cm. Private collection. Modernism.

857. Max Beckmann, 1884-1950, German, Self-Portrait, 1917. Pen and ink on paper, 38.7 x 31.6 cm. Art Institute of Chicago, Chicago. New Objectivity.

858. Henri Matisse, 1869-1954, French, The Plumed Hat, c. 1919. Pencil on paper, 54 x 36.5 cm. The Museum of Modern Art, New York. Modernism.

449

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 3/12/2014 11:52 2:21 AM PMPage Page 450 450

859

860

859. Georgia O’Keeffe, 1887-1986, American, No. 17 - Special, 1919. Charcoal on paper, 50.2 x 32.4 cm. Georgia O’Keeffe Museum, Santa Fe (New Mexico). Modernism.

860. George Grosz, 1893-1959, German, Christ on the Cross Surrounded by Soldiers (I Am Thirsty), c. 1920-1925. Ink on paper, 64.9 x 52 cm. Stiftung Christliche Kunst Wittenberg, Wittenberg. Expressionism.

861

861. Giorgio de Chirico, 1888-1978, Italian, Solitude, 1917. Pencil on paper, 22.4 x 32 cm. The Museum of Modern Art, New York. Metaphysical Art.

862. Pablo Picasso, 1881-1973, Spanish, Self-Portrait, 1917-1919. Pencil on paper, 64 x 49 cm. Musée national Picasso, Paris. New Realisms.

863. Pablo Picasso, 1881-1973, Spanish, Igor Stravinsky, 1920. Pencil and charcoal on paper, 61.5 x 48.2 cm. Musée national Picasso, Paris. New Realisms.

450

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 4:47 10:33 PM Page AM 451 Page 451

— 20 CENTURY — TH

862

863

PABLO PICASSO

(Málaga, 1881 - Mougins, 1973) Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to artists’ tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself. At other times, shunning children’s games, he traced his first pictures in the sand. This early self-expression held out promise of a rare gift. Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and it was there that he spent the first ten years of his life. Picasso’s father was a painter and professor at the School of Fine Arts and Crafts. Picasso learnt from him the basics of formal academic art training. Then he studied at the Academy of Arts in Madrid but never finished his degree. Picasso, who was not yet eighteen, had reached the point of his greatest rebelliousness; he repudiated academia’s anemic aesthetics along with realism’s pedestrian prose and, quite naturally, joined those who called themselves modernists, the nonconformist artists and writers, those whom Sabartés called “the élite of Catalan thought” and who were grouped around the artists’ café Els Quatre Gats. During 1899 and 1900 the only subjects Picasso deemed worthy of painting were those which reflected the ‘final truth’; the transience of human life and the inevitability of death. His early works, ranged under the name of ‘Blue Period’ (1901-1904), consist in blue-tinted paintings influenced by a trip through Spain and the death of his friend, Casagemas. Even though Picasso himself repeatedly insisted on the inner, subjective nature of the Blue Period, its genesis and, especially, the monochromatic blue were for many years explained as merely the results of various aesthetic influences. Between 1905 and 1907, Picasso entered a new phase, called ‘Rose Period’ characterised by a more cheerful style with orange and pink colours. In Gosol, in the summer of 1906 the nude female form assumed an extraordinary importance for Picasso; he equated a depersonalised, aboriginal, simple nakedness with the concept of ‘woman’. The importance that female nudes were to assume as subjects for Picasso in the next few months (in the winter and spring of 1907) came when he developed the composition of the large painting, Les Demoiselles d’Avignon. Just as African art is usually considered the factor leading to the development of Picasso’s classic aesthetics in 1907, the lessons of Cézanne are perceived as the cornerstone of this new progression. This relates, first of all, to a spatial conception of the canvas as a composed entity, subjected to a certain constructive system. Georges Braque, with whom Picasso became friends in the autumn of 1908 and together with whom he led Cubism during the six years of its apogee, was amazed by the similarity of Picasso’s pictorial experiments to his own. He explained that: “Cubism’s main direction was the materialisation of space.” After his Cubist period, in the 1920s, Picasso returned to a more figurative style and got closer to the surrealist movement. He represented distorted and monstrous bodies but in a very personal style. After the bombing of Guernica during 1937, Picasso made one of his most famous works which starkly symbolises the horrors of that war and, indeed, all wars. In the 1960s, his art changed again and Picasso began looking at the art of great masters and based his paintings on ones by Velázquez, Poussin, Goya, Manet, Courbet and Delacroix. Picasso’s final works were a mixture of style, becoming more colourful, expressive and optimistic. Picasso died in 1973, in his villa in Mougins. The Russian Symbolist, Georgy Chulkov wrote: “Picasso’s death is tragic. Yet how blind and naïve are those who believe in imitating Picasso and learning from him. Learning what? For these forms have no corresponding emotions outside of Hell. But to be in Hell means to anticipate death. The Cubists are hardly privy to such unlimited knowledge”.

451

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5510:33 AM Page AM Page 452 452

864

865

864. Mikhail Larionov, 1881-1964, Russian, Portrait of Manuel de Falla, c. 1920. India ink and wash on paper, 26.5 x 20.3 cm. Victoria and Albert Museum, London. Modernism.

865. Georges Rouault, 1871-1958, French, Nude, 1917. India ink wash. Private collection. Modernism.

GEORGES ROUAULT (Paris, 1871-1958)

Georges Rouault was born on 27 May 1871 at the height of the battles over the Paris Commune. Although his artistic career began under the stained-glass maker Albert Besnard, Rouault would later study under Gustave Moreau at the École des Arts Décoratifs. In 1903 he was among the founders of the Salon d’Automne, in 1905 he was with his friends under the banner of ‘Matisse’s group’ at the Salon des Indépendants and, finally, at the celebrated 1905 Salon d’Automne he was one of those christened ‘Fauves.’ Rouault’s painting rarely went beyond the usual Fauvist genres and was restricted to a range of themes already established in his youth: clowns, prostitutes, court officials and the Passion of Christ. Yet the continual repetition of the same set of subjects in his painting over a period of seventy years has not rendered it monotonous; on the contrary, it demands a special kind of concentration far removed from the shock or simple quick reaction most often evoked by the works of his friends. In Rouault’s work, the boundary between graphic art and painting is not a clearly defined one. His work goes beyond the generally accepted conceptions which hold Fauvism to have been limited to researching expressive form. For the Fauvist artists themselves, the brightness of Rouault’s creative individuality was the key feature which made him one of them and evoked their profound respect. “The things which Georges Rouault’s painting is capable of expressing, the essence of his emotion, the quality of his feelings, are something words cannot express,” was Maurice de Vlaminck’s conclusion.

452

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/3/2013 1 12/17/2013 8:18 10:33 AM Page AM 453 Page 453

— 20 CENTURY — TH

866

867

866. Pablo Picasso, 1881-1973, Spanish, Seven Dancers, 1919. Pencil and charcoal on paper, 62.6 x 50 cm. Musée national Picasso, Paris. Classicism.

867. Pablo Picasso, 1881-1973, Spanish, Diaghilev and Seligsberg, 1919. Charcoal and black chalk on paper, 65 x 50 cm. Musée national Picasso, Paris. New Realisms.

868

868. Max Beckmann, 1884-1950, German, Mirror on an Easel, 1926. Charcoal and crayon on paper, 50.2 x 64.8 cm. The Museum of Modern Art, New York. New Objectivity.

453

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5610:33 AM Page AM Page 454 454

870

869. Kazimir Malevich, 1878-1935, Russian, Suprematist Composition Conveying the Feeling of Movement and Resistance, c. 1920. Pencil on paper, 26.5 x 20.5 cm. Kunstmuseum Basel, Basel. Suprematism. 870. Kazimir Malevich, 1878-1935, Russian, Suprematist Composition Expressing the Combined Feeling of the Circle and the Square, c. 1920. Pencil on paper, 20.5 x 26.5 cm. Kunstmuseum Basel, Basel. Suprematism. 869 871

KAZIMIR MALEVICH

(Kiev, 1878 - Leningrad, 1935) Pioneer of geometric abstract art and one of the most important members of the Russian avant-garde, Malevich experimented with various modernist styles. In reaction to the influence of Cubism and Futurism on artists in Russia, Malevich in his art reduced the world of nature to basic elements and colours, such as in his Red Square (1915). He introduced his abstract, nonobjective geometric patterns in a style and artistic movement he called Suprematism. One of the important names of the 20th century, he however turned back to Primitivism once Russia’s communist leaders forced him to do so.

871. Kazimir Malevich, 1878-1935, Russian, Composition of Combined Suprematist Elements Expressing the Sensation of Metallic Sounds – Dynamic (Pale, Metallic Colours), c. 1920. Pencil on paper, 20.9 x 16.4 cm. Kunstmuseum Basel, Basel. Suprematism. 872. Wassily Kandinsky, 1866-1944, Russian, Untitled, 1920-1921. India ink and watercolour on paper. The State Tretyakov Gallery, Moscow. Lyrical abstraction.

454

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5610:33 AM Page AM Page 455 455

— 20 CENTURY — TH

872

455

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/5/2013 1 12/17/2013 2:36 10:33 PM Page AM 456 Page 456

873 874

873. Edward Hopper, 1882-1967, American, Cemetery at Gloucester, c. 1920. Black Conté crayon, 35.6 x 53.3 cm. Private collection. Realism.

874. Pierre Bonnard, 1867-1947, French, The Seine near Vernon, 1920. Pencil, 11.4 x 14.9 cm. Private collection. Modernism.

875. Raoul Dufy, 1877-1953, French, The Opera, date unknown. Pen and ink on paper. Private collection. Modernism.

876. Henri Matisse, 1869-1954, French, Nature morte, c. 1924-1925. Charcoal on paper, 27.3 x 45.1 cm. The Metropolitan Museum of Art, New York. Modernism.

456

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5710:33 AM Page AM Page 457 457

— 20 CENTURY — TH

875

876

457

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5710:33 AM Page AM Page 458 458

877

877. Paul Klee, 1879-1940, Swiss, Connected to the Stars, 1923. Watercolour and pencil on paper on cardboard, 32.4/32.8 x 48.3/48.7 cm. Zentrum Paul Klee, Bern. Modernism.

PAUL KLEE

(Münchenbuchsee, 1879 - Muralto, 1940) Paul Klee was born in 1879, in Münchenbuchsee, Switzerland, and grew up within a family of musicians. Instead of following his musical roots, he chose to study art at the Munich Academy. However, his childhood love of music always remained important in his life and work. In 1911 Klee met Alexej Jawlensky, Wassily Kandinsky, August Macke, Franz Marc, and other avant-garde figures and participated in important shows of avant-garde art, including the second Blaue Reiter exhibition at Galerie Hans Goltz, Munich, in 1912. Klee was difficult to classify as an artist as he did not associate himself with a particular movement. His works were best known for their satirical themes and representation of fantasy and dreams. Primitive art, Surrealism and Cubism all seem blended into his smallscale, delicate paintings. Klee’s art was also distinguished by an extraordinary diversity and technical innovation with one of his most effective techniques being oil transfer. This involved the artist drawing with a sharp point on the reverse of a sheet coated in oil paint and laid down over another sheet. Markings and smudges of pigment appeared as a side-effect of the process but it meant Klee achieved, for many of his works, the effect of a ‘ghostly’ impression. Klee was a teacher at the Bauhaus, Germany’s most advanced art school, from 1920 to 1931, and immensely productive. Finally, the seizure of power by the National Socialists drove him and his wife to leave Germany for his native Switzerland. Klee’s later works, in which simplified, archaic forms dominate, show a preoccupation with mortality. Klee died in 1940, after a long period of illness.

458

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 11:5710:33 AM Page AM Page 459 459

— 20 CENTURY — TH

879 880

878

878. Max Ernst, 1891-1976, German, Self-Constructed Small Machine, c. 1920. Stamp and pencil rubbings of printer’s block with ink on paper, 46 x 30.5 cm. Private collection. Dada.

879. Salvador Dalí, 1904-1989, Spanish, Untitled. Self-Portrait, 1923. Pencil and wash on paper, 31.5 x 23.5 cm. Teatre-Museu Dalí, Figueres. Modernism.

880. Francis Picabia, 1879-1953, French, The Holy Virgin, 1920. Ink on paper. Bibliothèque littéraire Jacques Doucet, Paris. Dada.

459

G_The Book Drawings_20th_4C_12 Nov 2013_Layout 1 10/20/2014 5:05 PM Page 460

881

882

460

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 12:5810:33 PM Page AM Page 461 461

— 20 CENTURY — TH

883

PIERRE BONNARD

(Fontenay-aux-Roses, 1867 Le Cannet, 1947)

881. Pablo Picasso, 1881-1973, Spanish, The Source, 1921. Pencil on paper, 100 x 200 cm. Musée national Picasso, Paris. Classicism.

882. Joan Miró, 1893-1983, Spanish, Untitled (Woman and Insects), 1924. Lead pencil, pastel crayon, and watercolour on paper, 46 x 62 cm. Private collection. Surrealism.

883. Pierre Bonnard, 1867-1947, French, Study of Nude, c. 1924. Pencil, 24.8 x 32.8 cm. Private collection. Modernism.

Pierre Bonnard was one of the founding members of the modern art movement Les Nabis. In 1891 he met Henri Toulouse-Lautrec and began showing his work as an amateur at the annual exhibition of the Societé des Artistes Indépendants. His first solo exhibition was held at the Galerie Durand-Ruel in 1896. In his early twenties Bonnard became part of the artist group Les Nabis and was committed to producing art of a symbolic and spiritual nature. He is well-known for his use of intense colour, small brushstrokes and close values. His compositions are complex and both narrative and autobiographical. He often painted sunlit interiors of rooms or gardens peopled with friends and family members. He also painted selfportraits, landscapes and many still lifes that generally depicted flowers or fruit. When he painted his compositions he almost never did it from life. He either made sketches of his subjects or took a photograph and notes on colour, and then painted the canvas in his studio from his notes.

461

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 12:5810:33 PM Page AM Page 462 462

884 885

GEORGE GROSZ (Berlin, 1893-1959)

George Grosz was fascinated by big cities. Those that gripped his imagination most were the biggest and most frenetic –above all, Berlin and New York. His early work, made during the First World War, is his most ‘expressionist’. His drawings and paintings of alienated individuals, rioting masses, furtive criminals, prostitutes and (very real) brutal mass violence are staged in the streets, tenements and back alleys of Berlin. He also absorbed some of the Italian Futurists’ dynamic, energy-laden compositional devices so well suited to conveying the more spectacular effects of modernity – electric lighting, mass transport and the surging movement of urban crowds. Described by a Dadaist colleague, Hans Richter, as a “savage boxer, fighter and hater,” Grosz became a key figure in the Berlin Dada movement. His pugnacious nature, his fearlessly irreverent sense for the absurd and dark humour were fuel for Dada’s political momentum as well as its anti-art stance. These aspects of Grosz, which infuse much of his work, made him resistant to many of the more literary, romantic and utopian aspects of Expressionism. However, what Grosz undeniably shares with Expressionist contemporaries is a fascinating sensitivity to the intoxicating life-pulse and dynamism of the city.

462

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 12:5810:33 PM Page AM Page 463 463

— 20 CENTURY — TH

886

884. Fernand Léger, 1881-1955, French, Study for La Lecture, c. 1924. Pencil on paper. Lille métropole musée d’Art moderne, d’Art contemporain et d’Art brut, Villeneuve d’Ascq. Modernism.

886. Paul Klee, 1879-1940, Swiss, Contemplation at Breakfast, 1925. Watercolour and gouache on paper on cardboard, 23.5 x 28.2 cm. Museum Berggruen, Staatliche Museen zu Berlin, Berlin. Modernism.

885. George Grosz, 1893-1959, German, “Our Father” (Das “Vaterunser”), 1922. Ink on paper, 54.3 x 40 cm. Private collection. New Objectivity.

463

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 12:5810:33 PM Page AM Page 464 464

887

887. Joan Miró, 1893-1983, Spanish, The Family, 1924. Charcoal, chalk, and conté crayon on flocked paper, 74.1 x 104 cm. The Museum of Modern Art, New York. Surrealism.

JOAN MIRÓ

(Barcelona, 1893 - Palma de Mallorca, 1983) Joan Miró was born in a room with stars painted on the ceiling. He grew up in the city of Barcelona, where rugged independence and creativity go hand in hand. In 1907, he enrolled in art classes at La Escuela de la Lonja, an academic and professionally oriented school of applied arts where a young man named Picasso had impressed the teachers ten years earlier. Then he entered Galí’s private classes. Unlike the Lonja School, it offered a setting where Miró’s distinctive ways of seeing were rewarded. At Gali’s academy, Miró met some of the men who would become not only fellow artists but intimate friends. He and Enric Cristòfol Ricart soon rented a studio together near the Barcelona Cathedral. Later identified as a Surrealist, Miró never really espoused any school or established style of art. “It was clear in his mind,” as one critic has put it, “that he had to go beyond all categories and invent an idiom that would express his origins and be authentically his own”. Over the course of his career, he even worked hard not to follow his own traditions. Clearly Miró had studied Cubism’s broken forms and had learned to admire the strident colours of the Fauves. But he had an eye of his own, and his paintings combined twisted perspectives, heavy brushwork, and surprises in colour. He was finding ways to merge the stylish two-dimensionality of the times with inspirations taken from Catalan folk art and Romanesque church frescos. Joan Miró began to recognise that, like Picasso, if he was going to become an artist in earnest, he needed to move to Paris. For a while he rented a studio at 45 rue Blomet, next door to the painter André Masson. Masson was just the first link in an entire community of artists with which Miró found a home, just as they were beginning to coalesce in the movement of art and sensibility they called ‘Surrealism’. It was a movement of thought that at once extolled the individual and the imagination and at the same time flaunted tradition, rationality, and even common sense. Influenced by the practitioners of surrealism, Miró never really joined their ranks. The joyful freedom espoused by the Dadaists was more to his liking than the manifestos and dogma of the Surrealists. His naïve originality drew the attention and admiration of them all, however, and he was soon the favoured illustrator for the magazine La Révolution Surréaliste. In his last years, Joan Miró spoke to his grandson of his lifelong love of Catalonian folk art - the natural forms, the independent spirit, the naiveté that is both beautiful and surprising. “Folk art never fails to move me,” he said. “It is free of deception and artifice. It goes straight to the heart of things”. In speaking of the art from the countryside that had nourished him, Joan Miró found the best words to describe himself. With his honesty, spontaneity, and childlike enthusiasm for shape, texture, and colour, he created a universe of artworks sure to delight, puzzle, and reward.

464

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 12:5810:33 PM Page AM Page 465 465

— 20 CENTURY — TH

888

889

888. Max Ernst, 1891-1976, German, The Rest of the Dead, 1925. Charcoal on paper, 30 x 41 cm. Location unknown. Surrealism.

889. André Masson, 1896-1987, French, Automatic Drawing, 1924. Ink on paper, 23.5 x 20.6 cm. The Museum of Modern Art, New York. Surrealism.

465

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 3/12/2014 12:58 2:20 PM PMPage Page 466 466

890 891

890. Edward Hopper, 1882-1967, American, Interior, 1925. Watercolour with touches of gouache, over graphite, on ivory wove paper, 35.4 x 50.6 cm. Art Institute of Chicago, Chicago. Realism.

891. Diego Rivera, 1886-1957, Mexican, Bathers at Tehuantepec, 1925. Red chalk and pastel, 64.5 x 50 cm. Private collection, Mexico City. Indigenism.

892. Max Ernst, 1891-1976, German, Double Portrait of Paul Éluard and Max Ernst, 1925. Pencil and watercolour on paper. Bibliothèque littéraire Jacques Doucet, Paris. Surrealism.

466

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 12:5810:33 PM Page AM Page 467 467

— 20 CENTURY — TH

892

MAX ERNST

(Brühl, 1891 - Paris, 1976) Maximilian Ernst was born on April 2, 1891, in the town of Brühl, near Cologne. In Bonn, where he moved in order to study philosophy, Ernst befriended the expressionist painter August von Macke and became aware of the activities of the Blaue Reiter group. He and his friends formed the group ‘The Young Rhineland’, paving the way for Dada in Cologne. But it was only after encountering the works of Cézanne, Van Gogh, Gauguin, Munch, Picasso and others that Ernst finally decided to become an artist. In 1913, he exhibited his works at the first German Salon d’Automne, but the outbreak of war the following year put a momentary halt to his artistic career. After the war, Ernst moved to Munich and would soon become a part of the city’s Dadaist milieu. It was also around this time that he discovered the work of Giorgio de Chirico. In the apparently frivolous circumstances of the Dadaist period, Ernst created his first collages in an already Surrealist language. His mysterious early works would impress fellow Dadaist friends Tzara, Breton and Arp, as well as the poet Paul Éluard, who would become the first buyer of Ernst’s work. It was also Éluard who conviced him to move to Paris. He would become one of the key members of the Surrealist group formed in 1924. Ernst’s oeuvre continued to develop throughout the following decades, although always in his own surrealist manner. He would expand his creative interests in 1934 as he began to work with sculpture during a summer visit to Alberto Giacometti. Throughout the rest of his life, his images remained as mysterious as ever, but they would become tinged with a sense of melancholy and solitude in his depictions of imaginary cities. In 1954, Ernst was awarded the grand prize at the Venice Bienale. Although he was excluded from the Surrealist group –as they were against all official awards– Ernst had by then become one of the fundamental figures of 20th-century art.

467

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 12:5810:33 PM Page AM Page 468 468

893

894

893. René Magritte, 1898-1967, Belgian, The Lost Jockey, 1926. Pastel, Indian ink, and charcoal on paper, 39.3 x 54.2 cm. Private collection. Surrealism.

894. Wilfredo Lam, 1902-1982, Cuban, Self-Portrait, 1926. Crayon on paper, 31 x 23 cm. Private collection. Realism.

468

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 12:5910:33 PM Page AM Page 469 469

— 20 CENTURY — TH

896

897

895

895. Paul Klee, 1879-1940, Swiss, Temples by the Water, 1927. Pen on paper on cardboard, 46 x 30 cm. Private collection, Switzerland. Modernism.

896. Georgia O’Keeffe, 1887-1986, American, Calla, 1923. Pastel on cardboard, 35.6 x 27.6 cm. Georgia O’Keeffe Museum, Santa Fe (New Mexico). Modernism.

897. Georgia O’Keeffe, 1887-1986, American, Slightly Open Clam Shell, 1926. Pastel on wove paper. Wadsworth Atheneum Museum of Art, Hartford (Connecticut). Modernism.

469

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 4:44 10:33 PM Page AM 470 Page 470

898 899

898. Frida Kahlo, 1907-1954, Mexican, The Accident, 1926. Pencil on paper, 19.8 x 26.9 cm. Collection of Juan Coronel Rivera. Surrealism.

899. Salvador Dalí, 1904-1989, Spanish, Untitled, 1927. Ink on paper, 25.1 x 32.6 cm. The Museum of Modern Art, New York. Surrealism.

900. André Masson, 1896-1987, French, Automatic Drawing, 1925-1926. Indian ink on paper, 31.5 x 24.5 cm. Musée national d'Art moderne, Centre Georges Pompidou, Paris. Surrealism.

901. Edward Hopper, 1882-1967, American, Rooftops, 1926. Watercolour on paper, 32.7 x 50.5 cm. Whitney Museum of American Art, New York. Realism.

470

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:02 10:33 PM Page AM 471 Page 471

— 20 CENTURY — TH

900

471

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 1:02 PM Page 472

901

472

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:03 10:33 PM Page AM 473 Page 473

— 20 CENTURY — TH

473

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 10:33 Drawings_20th_4C_12 Nov 2013_Layout 10/20/201415:05 PM Page 474 AM Page 474

902

RENÉ MAGRITTE

(Lessines, 1898 - Brussels, 1967) René Magritte was born in Lessines, Belgium, on 21 November 1898. He began to draw at the age of twelve, and enrolled as a student at Brussel’s Académie des Beaux-Arts in 1916. His creative interests at the start of the 1920s lay in the field of Cubism and Futurism, and his painting at the time was closest to that of Robert Delaunay and Fernand Léger. In 1923, he joined the group that had formed the journal Correspondance, which marked the beginning of Surrealism in Belgium. Magritte was fascinated by Giorgio de Chirico, but films such as Nosferatu and Fantômas and the detective stories of Dashiel Hammet and Georges Simenon would prove just as important for his future work. He decided to move to France in 1927 and joined the group of Paris Surrealists on equal terms with the other members. He participated in collective exhibitions as well as in the Surrealist journal La Révolution surréaliste. In 1930, however, Magritte returned to Brussels. He had by then assumed a place in European art. In the course of the 1930s, his painting was exhibited in the joint exhibitions of the Surrealists in Paris, New York, London, Tokyo and Tenerife, and his solo exhibitions were organised in Brussels, Ghent, The Hague, New York and London. Magritte created his own personal and, it would seem, distinctive Surrealist world, which turns out to be exceptionally complex, and where it is difficult for the viewer to find his way. Words, for example, became an inseparable element of his painting. Sometimes he depicts specific objects and accompanies them with words that designate other objects. In another instance, the words themselves become representative objects. The titles of Magritte’s works are another of his enigmas and another of the ideas behind his painting. If the words, “This is not a pipe” can be treated as an explanation of the fact that the representation of the object is not the object itself, then the title of the picture does more to conceal its sense than to reveal it. Most often, the title would seem to imply another, hidden meaning which one would like to discover but which is indecipherable. Magritte achieved what he wanted to do in his painting with remarkable clarity and simplicity. Belgium recognised him as one of its greatest artists. The 1950s saw the beginning of a succession of his exhibitions at the Palais des Beaux-Arts in Brussels, in the galleries of Belgium and Paris, in Italy, England and America. In 1965, Magritte went to the United States for the first time. He viewed America with the kind of admiration and surprise that were natural to him. “I had been told that there were squirrels running free in Central Park. I did not miss the chance to see them”, Magritte said on his return. “Would you believe it? I did not meet a single gangster – a real pity, when I adore the ‘Série Noire’ and crime films.” He died on 15 August 1967 at his home in Belgium.

474

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:03 10:33 PM Page AM 475 Page 475

— 20 CENTURY — TH

903 904

902. René Magritte, 1898-1967, Belgian, Man, Forks, and Knives, 1927. Sanguine on paper. Private collection. Surrealism.

903. René Magritte, 1898-1967, Belgian, The Magic Mirror, 1928. India ink on paper, 32.7 x 46.7 cm. Collection Sylvio Perlstein, Antwerp. Surrealism.

904. René Magritte, 1898-1967, Belgian, Dawn Disarmed, 1928. Indian ink on paper, stuck on grey paper, 12.6 x 10.4 cm. Musées royaux des Beaux-Arts de Belgique, Brussels. Surrealism.

475

G_The Book Drawings_20th_ENG_P-1_12 Drawings_20th_ENG_P-OK(P-5)_13 Nov 2013_4C:Layout Dec 2013_Layout 1 12/5/2013 1 12/17/2013 2:47 10:33 PM Page AM 476 Page 476

905

906

907

905. Salavdor Dalí, 1904-1989, Spanish, Paranoiac Metamorphosis of Gala’s Face, 1932. Pencil and ink on paper, 29 x 21 cm. Teatre-Museu Dalí, Figueres. Surrealism.

906. Salvador Dalí, 1904-1989, Spanish, The Sacred Heart (Sometimes I Spit with Pleasure on the Portrait of My Mother), 1929. Ink on linen canvas glued to cardboard, 68.3 x 50.2 cm. Musée national d'Art moderne, Centre Georges Pompidou, Paris. Surrealism.

907. Frida Kahlo, 1907-1954, Mexican, The Dream or Self Portrait Dreaming, 1932. Pencil on paper, 27 x 20 cm. Collection of Juan Coronel Rivera. Surrealism.

908. Paul Klee, 1879-1940, Swiss, B. e. H. (Upper Egypt), 1929. Watercolour and pencil on paper on cardboard, 30 x 45.5 cm. Private collection, Germany. Modernism.

909. Frida Kahlo, 1907-1954, Mexican, Nude of Eva Frederick, 1931. Crayon on paper, 63 x 48 cm. Museo Dolores Olmedo Patiño, Mexico City. Realism.

910. Francis Picabia, 1879-1953, French, Transparency, 1929. Crayon on paper. Private collection. Dada.

476

G_The Book Drawings_20th_ENG_P-1_12 Drawings_20th_ENG_P-OK(P-5)_13 Nov 2013_4C:Layout Dec 2013_Layout 1 12/5/2013 1 12/17/2013 2:37 10:33 PM Page AM 477 Page 477

— 20 CENTURY — TH

908

909

910

477

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/5/2013 2:37 PM Page 478

911

478

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/5/2013 8:49 10:33 AM Page Drawings_20th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 AM 479 Page 479

— 20 CENTURY — TH

912

912. Giorgio de Chirico, 1888-1978, Italian, Costume design for the Entree Espagnole in the Ballet “Le Bal”, 1929. Pencil and watercolour on paper, 27.8 x 20.3 cm. Victoria and Albert Museum, London. Modernism.

913

913. Giorgio de Chirico, 1888-1978, Italian, Costume design for a Male Guest in the Ballet “Le Bal”, 1929. Pencil and tempera on paper, 27.5 x 20 cm. Wadsworth Atheneum Museum of Art, Hartford (Connecticut). Modernism.

911. Arshile Gorky, 1904-1948, American, born Armenia, Cubist Portrait, c. 1928-1931. Graphite on paper, 76.2 x 55.9 cm. Private collection. Modernism.

GIORGIO DE CHIRICO (Volos, 1888 - Rome, 1978)

Fate linked Giorgio de Chirico’s life to the places and the landscapes which fed his imagination. He was born in 1888 in Greece, where his father built railways. For the whole of his life Giorgio de Chirico retained the vivid impression of the Classical architecture of Athens. There are recollections of Classical architecture and of the sculpture of ancient Greece in almost every one of his paintings. At the age of sixteen, after the death of his father, he left for Italy with his mother and brother. De Chirico then discovered the wonderful Italian cities in which the spirit of the Middle Ages still survived. Together with his memories of Greece, these cities lay at the basis of his own private world, the one that he created in his painting. In 1911 he arrived in Paris and settled in the Montparnasse district, on the Rue Campagne-Première. For the young people of Montmartre and Montparnasse, de Chirico became an inspiration and almost a prophet. In 1914 de Chirico depicted Apollinaire in profile against the background of a window. On the poet’s temple he drew a white circle. When Apollinaire went off to the front soon afterwards, he was wounded in the left temple, in the place shown in the picture. The artist had become a visionary for them, with the power to see into the future. Guillaume Apollinaire himself, an ardent advocate of Cubism, a theoretician of art, colour and form, was overwhelmed by the romantic mystery of de Chirico’s paintings. Giorgio de Chirico summoned to the surface what had been hidden deep within the art of the beginning of the 20th century. In the course of the following decades, the spirit of de Chirico found its way into the painting of all the Surrealist artists. References to his pictures turned up in their canvases, mysterious signs and symbols born from his imagination; the mannequins he invented prolonged their lives.

479

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 1 2013_Layout 12/17/2013 10:33 Drawings_20th_4C_12 Nov 2013_Layout 10/20/201415:06 PM Page 480 AM Page 480

914

915 916

SALVADOR DALÍ

(Figueres, 1904-1989) Painter, designer, creator of bizarre objects, author and film maker, Dalí became the most famous of the Surrealists. Buñuel, Lorca, Picasso and Breton all had a great influence on his career. Dalí’s film, An Andalusian Dog (1929), produced with Buñuel, marked his official entry into the tightly-knit group of Parisian Surrealists, where he met Gala, the woman who became his lifelong companion and his source of inspiration. But his relationship with the group soon deteriorated until his final rift with André Breton in 1939. Nevertheless Dalí’s art remained surrealist in its philosophy and expression and a prime example of his freshness, humour and exploration of the subconscious mind. Throughout his life, Dalí was a genius at self-promotion, creating and maintaining his reputation as a mythical figure.

480

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:04 10:33 PM Page AM 481 Page 481

— 20 CENTURY — TH

917

914. Pierre Bonnard, 1867-1947, French, Standing Nude, with Head of Artist, 1930. Charcoal, 60.3 x 45.7 cm. Private collection. Modernism. 915. Salvador Dalí, 1904-1989, Spanish, Gradiva, 1932. Pen and ink on paper, 63 x 45.5 cm. Staatliche Graphische Sammlung, Munich. Surrealism.

916. Pierre Bonnard, 1867-1947, French, The Terrace at Ma Roulotte, c. 1928. Pencil, 27.5 x 30.5 cm. Private collection. Modernism. 917. Balthus, 1908-2001, French, I Have Got the Time on with Writing for Twenty Minutes (illustration for Emily Brontë’s Wuthering Heights), 1932-1935. Indian ink on paper, 38.8 x 31 cm. Private collection. New Realisms.

481

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:04 10:33 PM Page AM 482 Page 482

918

918. Diego Rivera, 1886-1957, Mexican, The Black Race, 1932. Brown and red pigment with charcoal over light charcoal, 264 x 582 cm. Private collection. Modernism.

919

919. Diego Rivera, 1886-1957, Mexican, The Red Race, 1932. Brown and red pigment with charcoal over light charcoal, 270 x 585 cm. Private collection. Modernism.

482

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:04 10:33 PM Page AM 483 Page 483

— 20 CENTURY — TH

920

920. Diego Rivera, 1886-1957, Mexican, The White Race, 1932. Brown and red pigment with charcoal over light charcoal, 271 x 584 cm. Private collection. Modernism.

921

921. Diego Rivera, 1886-1957, Mexican, The Yellow Race, 1932. Brown and red pigment with charcoal over light charcoal, 269 x 582 cm. Private collection. Modernism.

483

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:04 10:33 PM Page AM 484 Page 484

922. Georgia O’Keeffe, 1887-1986, American, Untitled (Banyan Tree), 1934. Graphite on paper, 55.2 x 37.5 cm. Georgia O’Keeffe Museum, Santa Fe (New Mexico). Modernism.

923. Georgia O’Keeffe, 1887-1986, American, Untitled (Iris), c. 1936. Graphite on paper, 22.9 x 15.2 cm. Georgia O’Keeffe Museum, Santa Fe (New Mexico). Modernism.

924. Balthus, 1908-2001, French, Study for The Mouron-Cassandre Family, 1935. Pencil on paper, 33.7 x 24.3 cm. Private collection. New Realisms.

925. Georgia O’Keeffe, 1887-1986, American, Kachina, 1934. Charcoal on paper, 60 x 48.3 cm. Georgia O’Keeffe Museum, Santa Fe (New Mexico). Modernism.

926. Georgia O’Keeffe, 1887-1986, American, Banana Flower, c. 1934. Charcoal on paper, 55.2 x 37.7 cm. The Museum of Modern Art, New York. Modernism.

922

GEORGIA O’KEEFFE

(Sun Prairie, Wisconsin, 1887 - Santa Fe, 1986) In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstraction. During the 1920s O’Keeffe also produced a huge number of landscapes and botanical studies during annual trips to Lake George. With Stieglitz’s connections in the arts community of New York –from 1923 he organised an O’Keeffe exhibition annually– O’Keeffe’s work received a great deal of attention and commanded high prices. She, however, resented the sexual connotations people attached to her paintings, especially during the 1920s when Freudian theories became a form of what today might be termed ‘pop psychology’. The legacy she left behind is a unique vision that translates the complexity of nature into simple shapes for us to explore and make our own discoveries. She taught us there is poetry in nature and beauty in geometry. Georgia O’Keeffe’s long lifetime of work shows us new ways to see the world, from her eyes to ours.

484

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:05 10:33 PM Page AM 485 Page 485

— 20 CENTURY — TH

923

924

925

926

485

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:05 10:33 PM Page AM 486 Page 486

927 928

927. Pablo Picasso, 1881-1973, Spanish, The Murder, 1934. Lead pencil, 39.8 x 50.4 cm. Musée national Picasso, Paris. Expressionism.

928. Käthe Kollwitz, 1867-1945, German, Self-Portrait, Drawing, 1933. Charcoal on paper, 47.7 x 63.5 cm. National Gallery of Art, Washington, D.C. Realism.

929. Lyonel Feininger, 1871-1956, American, Sailboat and Steamer, 1934. Watercolour on black pen on paper, 23.8 x 30.5 cm. Kunstsammlungen Chemnitz, Chemnitz. Modernism.

930. Lyonel Feininger, 1871-1956, American, Arrival of a Sailboat, 1934. Watercolour on black pen on paper, 19 x 29.6 cm. Kunstsammlungen Chemnitz, Chemnitz. Modernism.

486

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/3/2013 9:06 10:33 AM Page Drawings_20th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 AM 487 Page 487

— 20 CENTURY — TH

929

930

487

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 1:05 PM Page 488

931

932

488

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:05 10:33 PM Page AM 489 Page 489

— 20 CENTURY — TH

933

931. André Masson, 1896-1987, French, Massacre, 1932-1934. India ink on paper, 48.8 x 60.9 cm. Musée national d'Art moderne, Centre Georges Pompidou, Paris. Surrealism.

933. Balthus, 1908-2001, French, Portrait of Antonin Artaud, 1935. India ink on paper, 24 x 20.5 cm. Private collection. New Realisms.

932. René Magritte, 1898-1967, Belgian, The Transatlatic Passenger, 1936. Pencil on paper, 24 x 31 cm. Private collection. Surrealism.

489

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:05 10:33 PM Page AM 490 Page 490

934

935

936

934. Henry Moore, 1898-1986, British, Two Upright Forms, 1936. Pencil, chalk, wash, and pen and ink on paper. Henry Moore Institute, Leeds. Modernism.

935. David Jones, 1895-1974, British, Aphrodite in Aulis, 1940-1941. Pencil, ink and watercolour on paper, 62.9 x 49.8 cm. Tate Collection, London. Surrealism.

936. André Masson, 1896-1987, French, Tossa de Mar, 1936. Ink on paper, 40.5 x 31.7 cm. Private collection, Paris. Surrealism.

937. Henry Moore, 1898-1986, British, Ideas for Sculpture (Bird Basket), 1937. Pencil and chalk on paper. Private collection, U.S.A. Modernism.

938. Pablo Picasso, 1881-1973, Spanish, Mother with Dead Child (III) (sketch for Guernica), 1937. Graphite, gouache, and colour stick on tracing cloth, 23.2 x 29.3 cm. Museo Nacional Centro de Arte Reina Sofía, Madrid. Expressionism.

490

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:06 10:33 PM Page AM 491 Page 491

— 20 CENTURY — TH

937

HENRY MOORE

938

(Castleford, 1898 - Much Hadham, 1986) The British sculptor Henry Moore is considered one of the most important sculptors of the 20th century. His bronze and stone sculptures constitute the major 20th-century manifestation of the humanist tradition in sculpture. The son of a Yorkshire coal miner, he was enabled to study at the Royal College of Art by a rehabilitation grant after being wounded in World War I. His early works were strongly influenced by the Mayan sculpture he saw in a Paris museum. From around 1931 onwards, he experimented with abstract art, combining abstract shapes with human figures, at times leaving the human figure behind altogether. Much of his work is monumental, and he is particularly well known for a series of reclining nudes. These female figures, echoing the forms of mountains, valleys, cliffs and caves, extended and enriched the landscape tradition which he embraced as part of his English artistic heritage.

491

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:06 10:33 PM Page AM 492 Page 492

939. Henry Moore, 1898-1986, British, Reclining Figures for Metal Sculpture, 1940. Pencil, wax crayon, chalk, watercolour wash, and pen and ink on paper, 27.9 x 38.1 cm. Sainsbury Centre for Visual Arts, University of East Anglia, Norwich. Modernism.

940. Georges Rouault, 1871-1958, French, Small Red and Gold Page, 1941. Gouache. Private collection. Modernism.

941. Georges Rouault, 1871-1958, French, Harlequin, 1941. Gouache. Private collection. Modernism.

492

939

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:06 10:33 PM Page AM 493 Page 493

— 20 CENTURY — TH

493

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/16/2013 3:57 PM Page 494

940

494

Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/16/2013 3:5710:33 PM Page 495 495 G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 AM Page

— 20 CENTURY — TH

941

495

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:07 10:33 PM Page AM 496 Page 496

942

HENRI MATISSE

(Le Cateau-Cambrésis, 1869 - Nice, 1954) “Fauvism is when there is a red,” said Henri Matisse, concisely putting into words the most straightforward notion held of Fauvism. Matisse has in fact become Fauvism’s leader over the years as a result of his contemporaries and researchers persistently perpetuating such an idea. Consequently Matisse’s oeuvre has been scoured through in a search for the ultimate Fauvist painting. Matisse never pretended or aspired to such a role, and on the question of what Fauvism represents in theory and in practice, he never came to a final conclusion. Matisse started to take lessons at the Académie Julian in 1891, working as a law tutor to help pay his way. In 1892 he abandoned Bouguereau’s totally uninspiring lessons and transferred to Gustave Moreau’s classes at the École des Beaux-Arts. During the evenings Matisse also attended classes in applied art and there he made friends with Albert Marquet, who soon also became a pupil of Moreau. It was at these classes that a group of artists came together and formed friendships that would endure all the trials and tribulations of their respective lives. This group consisted of the ‘Three M’s’ – Matisse, Marquet and Manguin – as well as Georges Rouault, Charles Camoin and Louis Valtat. Working in Léon Bonnat’s studio, which was just across the corridor, was another future member, Othon Friesz. And he would later be joined by Raoul Dufy. In 1901 Matisse and his friends started to exhibit their work at the Salon des Indépendants and in Berthe Weill’s gallery. In 1903 they were involved in the founding of the Salon d’Automne, where two years later Vauxcelles would see their work and dub them ‘les fauves’. The Salon d’Automne scandal over Woman with a Hat in 1905 brought Matisse fame and glory at a time when the preceding generation of artists were only just beginning to receive theirs. Matisse, as a natural inheritor of the French tradition, showed himself more than respectful of his elders. Renoir, whom he often met whilst in the south in 1917- 1918, always remained a teacher figure for him. The paintings Matisse produced between 1897 and 1901 demonstrate the mastery of his predecessors’ techniques, from the Impressionists through to Cézanne. Matisse began this process around the time of Gustave Moreau’s death. Unlike Derain and Vlaminck he was never troubled by the ‘museum issue’ since he learnt to appreciate exhibits and their influence under Moreau’s guidance. Fauvism shaped all Matisse’s creative work and he himself defined it so well as: “The courage to find the purity of means”.

496

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:07 10:33 PM Page AM 497 Page 497

— 20 CENTURY — TH

943

944

945

942. Henri Matisse, 1869-1954, French, Self-Portrait in a Straw Hat, 1945. Pen and black ink on paper, 40.1 x 26 cm. Private collection. Modernism.

943. Frida Kahlo, 1907-1954, Mexican, Self-Portrait dedicated to Marte R. Gómez, 1946. Pencil on paper, 38.5 x 32.5 cm. Private collection, Mexico City. Realism.

944. René Magritte, 1898-1967, Belgian, The Rape, 1946. India ink on paper, 28 x 23 cm. Collection VERDEC, Belgium. Surrealism.

945. Balthus, 1908-2001, French, Self-Portrait, 1943. Charcoal on paper, 63 x 45.7 cm. Private collection. New Realisms.

497

Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/3/2013 11:3010:33 AM Page 498 498 G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 AM Page

946 947

946. Jackson Pollock, 1912-1956, American, War, 1947. Ink and coloured pencil on paper, 52.4 x 66 cm. The Metropolitan Museum of Art, New York. Abstract Expressionism.

947. Jackson Pollock, 1912-1956, American, Untitled, c. 1946. Ink, pastel, and gouache on paper, 48.3 x 66 cm. Private collection. Abstract Expressionism.

948. Frida Kahlo, 1907-1954, Mexican, Untitled (Drawing with Subject inspired by Eastern Philosophy), 1946. Sepia ink on paper, 18 x 26.7 cm. Private collection. Surrealism.

949. Frida Kahlo, 1907-1954, Mexican, Untitled (Drawing with Cataclysmic Theme), 1946. Sepia ink on paper, 18 x 26.7 cm. Private collection. Surrealism.

498

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:07 10:33 PM Page AM 499 Page 499

— 20 CENTURY — TH

948

949

499

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 1:08 PM Page 500

950

951

500

G_The Book Drawings_20th_ENG_P-1_12 Drawings_20th_ENG_P-OK(P-5)_13 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 4:03 10:33 PM Page AM 501 Page 501

— 20 CENTURY — TH

952

950. Jackson Pollock, 1912-1956, American, Untitled, c. 1945. Black and colour ink, gouache, pastel, and wash on paper, 46.6 x 62.8 cm. Private collection. Abstract Expressionism.

952. Jackson Pollock, 1912-1956, American, Untitled, 1946. Gouache on paper, 56.5 x 82.6 cm. Private collection. Abstract Expressionism.

951. Arshile Gorky, 1904-1948, American, born Armenia, Study for They Will Take My Island, 1944. Crayon on white wove paper, 55.9 x 76.2 cm. Brooklyn Museum, New York. Abstract Expressionism.

JACKSON POLLOCK

(Cody, Wyoming, 1912 - East Hampton, New York, 1956) Born in 1912, in a small town in Wyoming, Jackson Pollock embodied the American dream as the country found itself confronted with the realities of a modern era replacing the fading 19th century. Pollock left home in search of fame and fortune in New York City. Thanks to the Federal Art Project he quickly won acclaim, and after the Second World War became the biggest art celebrity in America. For De Kooning, Pollock was the ‘icebreaker’. For Max Ernst and Masson, Pollock was a fellow member of the European Surrealist movement. And for Motherwell, Pollock was a legitimate candidate for the status of the Master of the American School. During the many upheavals in his life in New York in the 1950s and 1960s, Pollock lost his bearings - success had simply come too fast and too easily. It was during this period that he turned to alcohol and disintegrated his marriage to Lee Krasner. His life ended like that of 1950s film icon James Dean, behind the wheel of his Oldsmobile, after a night of drinking.

501

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:08 10:33 PM Page AM 502 Page 502

953

953. Balthus, 1908-2001, French, Study for The Room, 1949. Chalk on paper, 37.9 x 54 cm. The Museum of Modern Art, New York. New Realisms.

BALTHUS

(Paris, 1908 - Rossinière, 2001) Born to the culturally elite Klossowski family in Paris at the beginning of the 20th century, Balthus was mentored and sponsored from an early age by such revolutionary artists and intellectuals as Rilke, Denis, Bonnard and Matisse, and was later admired by André Breton and Pablo Picasso. However, in spite of his associations with the main innovators of abstraction, Balthus adhered to a strictly figurative style, often drawing controversy through his depictions of pubescent girls in erotic or suggestive situations. Always an enigma, Balthus continued to resist artistic conventions and trends until his death in 2001 at the age of ninety-two.

502

954. René Magritte, 1898-1967, Belgian, Untitled, 1948. Pencil on paper, 14.4 x 19.1 cm. Musées royaux des Beaux-Arts de Belgique, Brussels. Surrealism.

955. Georgia O’Keeffe, 1887-1986, American, Untitled (Patio Door), c. 1946. Graphite on paper, 43.2 x 35.6 cm. Georgia O’Keeffe Museum, Santa Fe (New Mexico). Modernism.

956. Antoni Tàpies, 1923-2012, Spanish, Scratching on Cardboard, 1947. Charcoal and scratching on cardboard, 91 x 73 cm. Beyeler Collection, Basel. Art informel, Dau al Set Group.

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:09 10:33 PM Page AM 503 Page 503

— 20 CENTURY — TH

954

955

956

503

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:09 10:33 PM Page AM 504 Page 504

957

958

957. Lyonel Feininger, 1871-1956, American, Clouds out at Sea, 1950. Watercolour on black pen on paper, 30.5 x 46.3 cm. Kunstsammlungen Chemnitz, Chemnitz. Modernism.

958. Antonin Artaud, 1896-1948, French, Self-Portrait, 1946. Graphite on paper, 63 x 49 cm. Musée national d'Art moderne, Centre Georges Pompidou, Paris. Expressionism.

504

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:09 10:33 PM Page AM 505 Page 505

— 20 CENTURY — TH

959

959. Max Beckmann, 1884-1950, German, Fight of Women, 1947. Pen and ink on paper, 33 x 25.5 cm. Karin and Rüdiger Volhard, Frankfurt am Main. New Objectivity.

960

960. Max Beckmann, 1884-1950, German, Study for Portrait of Walter Barker, 1948. Pencil on paper, 50 x 33 cm. Private collection. New Objectivity.

MAX BECKMANN

(Leipzig, 1884 - New York, 1950) As a student in the centre of Germany’s Enlightenment, Weimar, Max Beckmann read the works of Schopenhauer avidly and became interested in Kant, Hegel and Nietzsche. Having graduated in 1903, he painted his early canvases in Paris. He was particularly impressed by Cézanne. Beckmann’s own early work was in a broadly impressionist mode and could sometimes be quite traditional in its composition and treatment of historical or monumental subjects. Beckmann retained through his life an instinctive feel for the art of the past, gravitating towards images and epochs in which he saw powerful and simple expression. As his own distinctive style developed, this took the form especially of a creative engagement with the art of the Middle Ages and the Northern Renaissance. Beckmann remained aloof from Expressionism’s core groupings and the impassioned programmes they issued. In many ways he was never a true ‘Expressionist’. However, his work between the war years, especially the mid-1920s, constitutes a major contribution to avant-garde German art and to the development, and the decline, of Expressionism. Beckmann made few public statements about his work, preferring to confine his expression to painting. Precisely because of the scarcity of testimony from the artist, his rare statements, in the form of a “schöpferische Konfession” or “creative credo”, written in 1918 and published in 1920 by the writer Kasimir Edschmid, has become a central document: “I believe that I particularly love painting so much because it forces one to be objective. There is nothing I hate more than sentimentality. The stronger and more intensive my determination to grasp the unutterable things of the world grows, the deeper and more powerful the emotion about our existence burns in me, the tighter I keep my mouth shut, the colder my will becomes, to capture this monster of vitality and to confine it, to beat it down and to strangle it with crystal-clear, sharp lines and planes. I do not weep, tears are despicable to me and signs of slavery. I always think of the thing”.

505

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/5/2013 9:10 AM Page 506

961

962

506

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:09 10:33 PM Page AM 507 Page 507

— 20 CENTURY — TH

963

961. Jackson Pollock, 1912-1956, American, Untitled, 1951. Coloured ink on Japanese paper, 61.5 x 86.3 cm. Private collection. Abstract Expressionism.

963. Georgia O’Keeffe, 1887-1986, American, Drawing IX, 1959. Charcoal on paper, 47.3 x 62.5 cm. Georgia O’Keeffe Museum, Santa Fe (New Mexico). Modernism.

962. Jackson Pollock, 1912-1956, American, Untitled, c. 1951. Ink on Japanese paper, 62.1 x 87.3 cm. Private collection. Abstract Expressionism.

507

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/16/2013 1 12/17/2013 3:5810:33 PM Page AM Page 508 508

964

965

966

964. Nicolas de Staël, 1914-1955, French, born Russia, Flight of Birds, 1951. Felt tip pen on paper, 71 x 51.5 cm. The Phillips Collection, Washington, D.C. Non-Figuration.

965. Nicolas de Staël, 1914-1955, French, born Russia, Table with a Palette, 1954. Charcoal, 150 x 104 cm. Private collection. Non-Figuration.

966. Nicolas de Staël, 1914-1955, French, born Russia, Study for a Nude, 1955. Charcoal on paper, 150 x 100 cm. Private collection. Non-Figuration.

967. Nicolas de Staël, 1914-1955, French, born Russia, Nude, 1953. Indian ink on paper, 41.4 x 53.7 cm. Private collection. Non-Figuration.

968. Nicolas de Staël, 1914-1955, French, born Russia, Three Pears, 1954. India ink on paper, 30 x 37 cm. Private collection. Non-Figuration.

508

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:09 10:33 PM Page AM 509 Page 509

— 20 CENTURY — TH

967

968

509

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:09 10:33 PM Page AM 510 Page 510

969

970

JASPER JOHNS (b. Augusta, 1930)

Jasper Johns was born in Augusta, Georgia, in 1930. His artistic career began with his move to New York in 1948 after studying briefly at the University of South Carolina. He soon became friends with fellow artist Robert Rauschenberg, the composer John Cage and the choreographer Merce Cunningham. Throughout the second half of the 1950s, Johns developed his most recognisable works, which consisted of depictions of everyday imagery, such as flags, numbers and targets. These served as a kind of neutral subject for paintings that shared the same painterly qualitites of the Abstract Expressionists. The crucial difference between them lay in the fact that Johns –despite using the expressionist ‘allover’ technique– aimed for conscious control instead of spontaneity, quite the opposite of Pollock, De Kooning and other artists of the previous generation. Although his cool, controlled compositions are direct predecesors of Pop Art, it would perhaps be better to refer to Johns’ work as Neo-Dadaist. With his iconic images, Johns poses a series of questions which shake the foundations of our everyday relationship with commonplace objects and images. His work of the 1950s also paved the way for Minimalism and Conceptual Art.

510

G_The Book Drawings_20th_ENG_P-1_12 Drawings_20th_ENG_P-OK(P-5)_13 Nov 2013_4C:Layout Dec 2013_Layout 1 12/3/2013 1 12/17/2013 9:44 10:33 AM Page AM 511 Page 511

— 20 CENTURY — TH

971

972 973

969. Jasper Johns, born 1930, American, Two Flags, 1969. Graphite and collage on paper, 56.2 x 78.4 cm. The Menil Collection, Houston. Neo-Dada.

970. Jasper Johns, born 1930, American, 0 Through 9, 1960. Charcoal on paper, 74 x 58 cm. Collection of the artist. Neo-Dada.

971. Hans Bellmer, 1902-1975, German, Untitled, 1961. Charcoal, red pencil, and white wash on paper on cardboard, 65.7 x 49.6 cm. Musée national d'Art moderne, Centre Georges Pompidou, Paris. Surrealism.

972. Balthus, 1908-2001, French, Portrait of James Lord, 1959. Pencil on paper, 38 x 29 cm. Private collection, New York. New Realisms.

973. Alberto Giacometti, 1901-1966, Swiss, Self-Portrait, 1960. Pencil on paper, 50x 32 cm. Private collection. Expressionism.

511

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:10 10:33 PM Page AM 512 Page 512

974 975

974. Ellsworth Kelly, born 1923, American, Study for a Wall Sculpture, 1975. Pencil on paper, 81.3 x 120.7 cm. Collection of the artist. Minimalism.

975. Ellsworth Kelly, born 1923, American, Studies for the paintings Yellow Curve I, Red Curve I and Blue Curve III, 1971. Pencil on paper, 41.9 x 32.1 cm. Collection of the artist. Minimalism.

976. Maria Helena Vieira da Silva, 1908-1992, French, born Portugal, Object with Unknown Destination, 1962. Pencil and coloured pencils on paper, 27 x 21 cm. Private collection. Non-Figuration.

512

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:10 10:33 PM Page AM 513 Page 513

— 20 CENTURY — TH

976

513

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:10 10:33 PM Page AM 514 Page 514

977

ANDY WARHOL

(Pittsburgh, 1928 - New York, 1987) Andy Warhol was an artist who undoubtedly put his finger on the pulse of modern culture. Through pioneering a variety of techniques, but principally by means of the visual isolation of imagery, its repetition and enforced similarity to printed images, and the use of garish colour to denote the visual garishness that is often encountered in mass culture, he threw much direct or indirect light upon modern anomie or worldweariness, nihilism, materialism, political manipulation, economic exploitation, conspicuous consumption, media hero-worship, and the creation of artificially-induced needs and aspirations. Moreover, in his best paintings and prints he was a very fine creator of images, with a superb colour sense and a brilliant feel for the visual rhythm of a picture which resulted from his intense awareness of the pictorial potentialities inherent in forms. Initially, his images might appear rather simple. Yet because of that very simplicity they not only enjoy a high degree of immediate visual impact, but also possess the rare power of projecting huge implications through the mental associations they set in motion. For example, the visual repetition that Warhol employed within a great many of his images was intended, associatively, to parallel the vast repetition of images that are employed in a mass-culture in order to sell goods and services. This includes vehicles of communication such as movies and TV programmes. By incorporating into his images the very techniques of mass production that are central to a modern industrial society, Warhol directly mirrored larger cultural uses and abuses, while emphasising, to the point of absurdity, the complete detachment from emotional commitment that he saw everywhere around him. Moreover, in addition to employing imagery derived from popular culture in order to offer a critique of contemporary society, Warhol also carried forward the assaults on art and bourgeois values that the Dadaists had earlier pioneered; by manipulating images and the public persona of the artist he was able to throw back in our faces the contradictions and superficialities of contemporary art and culture. Ultimately, it is the trenchancy of his cultural critique, as well as the vivaciousness with which he imbued it, that will surely lend his works their continuing relevance long after the particular objects he represented – such as Campbell’s Soup cans and CocaCola bottles – have perhaps become technologically outmoded, or the outstanding people he depicted, such as Marilyn Monroe, Elvis Presley and Mao Zedong, have come to be regarded merely as the superstars of yesterday.

514

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:11 10:33 PM Page AM 515 Page 515

— 20 CENTURY — TH

978

979 980

977. Andy Warhol, 1928-1987, American, Roll of Bills, 1962. Pencil, crayon and, felt-tipped pen on paper, 101.6 x 76.2 cm. The Museum of Modern Art, New York. Pop Art.

978. René Magritte, 1898-1967, Belgian, The Art of Conversation, 1967. Indian ink on paper, 32 x 24 cm. Galerie Christine et Isy Brachot, Brussels. Surrealism.

979. René Magritte, 1898-1967, Belgian, The Two Mysteries (This Is Not a Pipe), 1966. Ink on paper, 19.7 x 13.8 cm. H.G. collection, Knokke. Surrealism.

980. Ellsworth Kelly, born 1923, American, Study for the sculpture Curve I, 1968. Pencil on paper, 27.3 x 35.9 cm. Private collection. Minimalism.

515

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 4:28 10:33 PM Page AM 516 Page 516

981

981. Alexander Calder, 1898-1976, American, Untitled, 1968. Gouache on paper, 75 x 109 cm. Private collection. Modernism.

516

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:11 10:33 PM Page AM 517 Page 517

— 20 CENTURY — TH

982

982. Alexander Calder, 1898-1976, American, Untitled, c. 1970. Gouache on paper, 110 x 75 cm. Private collection. Modernism.

983

983. Alexander Calder, 1898-1976, American, Jack Rabbit, 1972. Gouache on paper, 109.5 x 25.2 cm. Private collection. Modernism.

517

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:11 10:33 PM Page AM 518 Page 518

984

984. Gilbert & George, born 1943/1942, British, Is Not Art the Only Hope for the Making of a Way for the Modern World to Enjoy the Sophistication of Decadent Living Expression, 1972. Charcoal and paint on paper, 280 x 450 cm. Private collection, Mendrisio. Postmodernism. 985

985. Jean-Michel Basquiat, 1960-1988, American, Razu, 1978. Ink on paper, 22.9 x 30.5 cm. Galerie Jérôme de Noirmont, Paris. Neo-expressionism.

986. Andy Warhol, 1928-1987, American, Hammer and Sickle, 1977. Graphite and watercolour on paper, 71.1 x 102.9 cm. Private collection. Pop Art.

987. Maria Helena Vieira da Silva, 1908-1992, French, born Portugal, Games, 1972. Tempera on paper, 58 x 122 cm. Private collection. Non-Figuration.

518

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:11 10:33 PM Page AM 519 Page 519

— 20 CENTURY — TH

986

987

519

G_The Book Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout 1 12/2/2013 1:11 PM Page 520

988

990

989

991

520

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/3/2013 1 12/17/2013 9:36 10:33 AM Page AM 521 Page 521

— 20 CENTURY — TH

992

993

988. Maria Helena Vieira da Silva, 1908-1992, French, born Portugal, Untitled, 1976. India ink on paper, 21.5 x 20.6 cm. Private collection. Non-Figuration. 989. Adrian Piper, born 1948, American, Self-Portrait Exaggerating My Negroid Features, 1981. Pencil on paper, 25.4 x 20.3 cm. Collection of the artist. Conceptual Art. 990. Balthus, 1908-2001, French, Sleepy Young Girl, 1978. Pencil on paper, 100 x 70 cm. Private collection, Rome. New Realisms. 991. Maria Helena Vieira da Silva, 1908-1992, French, born Portugal, Drawing for Plato’s Symposium, 1972. Pen and india ink on paper, 19.5 x 10.8 cm. Private collection. Non-Figuration. 992. Francesco Clemente, born 1952, Italian, Self-Portrait: The First, 1979. Gouache, watercolour and ink on paper mounted on canvas, 111.8 x 147.3 cm. Private collection. Transvanguardia. 993. Maria Helena Vieira da Silva, 1908-1992, French, born Portugal, Untitled, 1976. Indian ink on paper, 27 x 21.2 cm. Private collection. Non-Figuration.

521

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:12 10:33 PM Page AM 522 Page 522

994

995

996

994. Jean-Michel Basquiat, 1960-1988, American, Untitled (Running Man), 1981. Oil paint stick on paper, 58 x 44.5 cm. Private collection. Neo-expressionism.

995. Jean-Michel Basquiat, 1960-1988, American, Oscar Famous, 1984. Oil paint stick on paper, 76.2 x 55.9 cm. Private collection. Neo-expressionism.

996. Jean-Michel Basquiat, 1960-1988, American, Untitled (Andy Warhol), 1984. Oil paint stick and acrylic on paper, 55.9 x 76.2 cm. Private collection. Neo-expressionism.

997. David Hockney, born 1937, British, Self-Portrait, 26th September 1983, 1983. Charcoal on paper, 76.2 x 57.2 cm. Collection of the artist. Pop Art.

998. Jasper Johns, born 1930, American, After Picasso, 1998. Ink and graphite on paper, 101.6 x 68.6 cm. Collection of the artist. Neo-Dada.

999. Jean-Michel Basquiat, 1960-1988, American, Famous Negro Athletes, 1981. Oil paint stick on paper, 70.8 x 88.9 cm. Private collection. Neo-expressionism.

522

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:43 10:33 PM Page AM 523 Page 523

— 20 CENTURY — TH

997

998 999

523

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:12 10:33 PM Page AM 524 Page 524

1000

1000. Jasper Johns, born 1930, American, Untitled, 1992. Graphite pencil on paper, 69.2 x 104.8 cm. Private collection. Neo-Dada.

524

G_The Book Drawings_20th_ENG_P-OK(P-5)_13 Drawings_20th_ENG_P-1_12 Nov 2013_4C:Layout Dec 2013_Layout 1 12/2/2013 1 12/17/2013 1:12 10:33 PM Page AM 525 Page 525

— 20 CENTURY — TH

525

H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 11:09 AM 526 Page 526 H_The Oct 2013_Layout 1 12/13/2013 4:19 PM Page

Chronology — 13th century — 1200-1249

1250-1299

1200: Introduction of the Arabic numerals in Europe IBERIAN PENINSULA

1212: The combined armies of Aragon and Castile defeat the Almohads at the Battle of Las Navas de Tolosa 1238: The Moors set their last refuge in Grenada

c. 1200: The compass arrives in Europe for purpose of navigation c. 1200: Paper arrives in Europe ITALY

1271: Marco Polo reaches China

1204: Sack of Constantinople

1276: First paper mill in Italy

1209: Foundation of Franciscan and Domenican monastic orders preaching against heresy and praising poverty and charity 1180-1223: King Philip Augustus II of France. Building of the Louvre 1233: Pope Gregory IX starts the Papal Inquisition. Extirpation of the Cathars in southern France FRANCE 1226-1270: King St Louis of France (Louis IX), last crusade

BRITISH ISLES

1215: King John forced to sign the Magna Carta

CENTRAL EUROPE (INCLUDING GERMANY)

FLANDERS (BELGIUM; NETHERLANDS)

1260: Albert the Great writes a major book on botanical studies

1214: Philip Augustus of France wins the Battle of Bouvines. Starts a long period of French control

AMERICA

1207: The Mongols spread xylography in eastern Europe RUSSIA 1223: Invasion of Russia by Mongols

526

see legends on page 536

H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 12/17/2013 11:09 AM 527 Page 527 H_The Oct 2013_Layout 1 12/13/2013 4:19 PM Page

— 14th century — 1300-1349

1350-1399

1309: First portolan (navigation map) IBERIAN PENINSULA 1232-1492: The Nasrid dynasty rules Granada

1308: Dante writes the Divine Comedy. Flourishing of vernacular literature 1348: The plague (known as the Black Death) arrives in Europe

1378: Two popes are elected, one in Italy, one in France. Beginning of the Great Schism

ITALY 1349-1353: Boccaccio writes the Decameron

1320s: Endemic wars and development of sea trade

1378: Two popes are elected, one in Italy, one in France. Beginning of the Great Schism

FRANCE 1309-1423: Avignon becomes the residence of the Pope, starting with Clement V 1337-1453: England and France start the Hundred Years’ War

1346: Canon powder arrives in Europe and used for the first time at the battle of Crecy

1382: John Wycliffe finishes translating the latin Bible into English

BRITISH ISLES

1337-1453: England and France start the Hundred Years’ War

CENTRAL EUROPE (INCLUDING GERMANY)

FLANDERS (BELGIUM; NETHERLANDS)

1310: Experiments on reflection and refraction of light

1356: Emperor Charles IV issues the Golden Bull. Prague centre of learning and culture

1369: Marriage of Philip the Bold, duke of Burgundy, to Margaret of Flanders, beginning of Burgundian rule in the Low Countries

AMERICA

RUSSIA

see legends on page 536

527

H_The Dec 2013_Layout 1 3/12/2014 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:193:14 PM PM PagePage 528 528

— 15th century — 1400-1449

1450-1499 1469: Reign of the Catholic Monarchs (Ferdinand of Aragon and Isabella of Castille) 1478: Sixtus IV issues the Bull establishing the Spanish Inquisition

IBERIAN PENINSULA

15th c.-16th c.: Navigation with caravels

1492: Moors driven out of Spain. End of 800 years of Islamic presence in Spain 1492: Columbus reaches the New World (claims the land for the kings of Spain)

1407: Bank of St George established in Genoa as the first public bank ITALY

1413: Brunelleschi invents the pictorial perspective

1453: Turkish conquest of Constantinople

1417: End of the Great Schism

FRANCE

1429: Saint Joan of Arc leads the French to victory against the English

BRITISH ISLES

1455: War of the Roses

1456: Gutenberg produces the first printed Bible CENTRAL EUROPE (INCLUDING GERMANY)

1445: Invention of the moveable type (first printer)

1493: Maximilian I establishes the Habsburg family as a major international power Late 15th c.: Invention of the art of etching (with Daniel Hopfer)

FLANDERS (BELGIUM; NETHERLANDS)

AMERICA

1445: Invention of the moveable type (first printer)

1492: Columbus reaches the New World (claims the land for the kings of Spain)

RUSSIA

528

see legends on page 536

H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Dec 2013_Layout 1 3/12/2014 H_The Oct 2013_Layout 1 12/13/2013 4:193:14 PM PM PagePage 529 529

— 16th century — 1500-1549

1550-1599

1500: First Portuguese explorers disembark in Brazil 1506: Hernán Cortés, conquistador, arrives in the New World 1513: Pacific Ocean discovered by Vasco Nuñez de Balboa

1571: Battle of Lepanto, Ottomans defeated by the Venetian and the Spanish

1520: Magellan sails across the Pacific Ocean IBERIAN PENINSULA

1521: The Spanish defeat the Aztecs. A 300 year colonial period starts

1588: Spanish Armada defeated by England. End of Spanish commercial supremacy

1543: First scientific study of human anatomy (Andreas Vesalius) 1549: Francis Xavier establishes the first Christian mission in Japan

1519-1555: Charles V, Holy Roman Emperor

1494-1559: Italian wars ITALY 1545-1563: Council of Trent. Counter-Reformation

1552: Ambroise Paré practises the first vessel ligature 1515-1547: Francis I, King of France

1592-1598: Wars of Religion 1598: Edict of Nantes proclaimed by French king Henry IV. End of the Wars of Religion

FRANCE

1494-1559: Italian wars

1558: Protestantism established in the Church of England BRITISH ISLES

1533: Henry VIII is excommunicated by the Pope 1558-1603: Elizabeth I, Queen of England

1517: Luther posts his ninety-five theses. Protestant Revolt, Reformation CENTRAL EUROPE (INCLUDING GERMANY)

1529: Turkish invasions, Siege of Vienna

1560: Spreading of Calvinism

1543: Copernican Revolution with the theory of heliocentrism

1581: Creation of the Dutch Republic (Independence of the Northern provinces from Spain)

FLANDERS (BELGIUM; NETHERLANDS)

1519-1555: Charles V, Holy Roman Emperor

1500: First Portuguese explorers disembark in Brazil 1506: Hernán Cortés, conquistador, arrives in the New World AMERICA 1521: The Spanish defeat the Aztecs. A 300 year colonial period starts

1588: Spanish Armada defeated by England. End of Spanish commercial Supremacy

1531-1534: Pizarro conquers the Inca Empire

RUSSIA

see legends on page 536

1533-1584: Ivan IV of Russia (Ivan the Terrible) first ruler of Russia to assume the title of tsar

529

H_The Dec 2013_Layout 1 12/17/2013 11:09 AM 530 Page 530 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:19 PM Page

— 17th century — 1600-1649

1650-1699

1598-1621: Philip III rules Spain, Naples, Sicily, Southern Netherlands and Portugal IBERIAN PENINSULA

1621: Victories against the French and Dutch 1648: Defeat of Spain against France, peace of Westphalia, concession of the Flanders’ territories

1610: Galileo Galilei first uses the telescope ITALY

1616: Galileo forbidden by the Church to further scientific work 1644: Evangelista Torricelli invents the barometer

1610-1643: Louis XIII, King of France FRANCE

1661-1715: Louis XIV, King of France. Castle of Versailles transformed

1618-1648: The Thirty Years War 1648: Defeat of Spain against France, peace of Westphalia, concession of the Flanders’ territories

1685: Revocation of the Edict of Nantes (Protestantism declared illegal in France)

1666: Great fire in London BRITISH ISLES

1640-1660: English Revolution. Led by Oliver Cromwell (1599-1658)

1687: Isaac Newton's theories of the law motion and principle of gravity 1698: Invention of the steam engine by Thomas Savery

CENTRAL EUROPE (INCLUDING GERMANY)

FLANDERS (BELGIUM; NETHERLANDS)

1608: Hans Lippershey invents the telescope

1607-1675: British colonisation of North America AMERICA 1624: Dutch settle in Manhattan and around

1681: King Charles II of England grants a land charter to William Penn for the area that now includes Pennsylvania

RUSSIA

530

see legends on page 536

H_The Dec 2013_Layout 1 12/17/2013 11:09 AM 531 Page 531 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:19 PM Page

— 18th century — 1700-1749

IBERIAN PENINSULA

1701-1713: War of the Spanish Succession and Treaty of Utrecht

ITALY

1738 and 1748: Discovery of the ruins of Herculaneum and Pompeii

1750-1799

1756-1763: Seven Years War 1763: Treaty of Paris. France ceded Canada and all its territory east of the Mississippi River to England 1770: Nicolas-Joseph Cugnot built the first automobile 1783: First flight in hot air balloon 1789: Lavoisier publishes studies of chemistry FRANCE

1789: Beginning of the French Revolution 1793-94: Reign of Terror led by Robespierre 1792-1804: First Republic established 1793: Louis XVI executed 1793: Opening of the Musée du Louvre 1798-1799: Expedition of Bonaparte in Egypt

1768-79: James Cook explores the Pacific BRITISH ISLES 1768: The Royal Academy is founded, with the painter Joshua Reynolds

CENTRAL EUROPE (INCLUDING GERMANY)

1738: Vienna Treaty. End of the war of Polish Succession

FLANDERS (BELGIUM; NETHERLANDS)

1796: Aloys Senefelder invents lithography

1794: Southern Netherlands conquered by the French

1763: Treaty of Paris. France cedes Canada and all its territory east of the Mississippi River to England

AMERICA

Early 18th c.: Benjamin Franklin invents the bifocal lens and performs studies on electricity

1775 -1783: American war of Independence 1776: Official founding of the United States, declaration of Independence from Great Britain 1789: Election of George Washington

RUSSIA

see legends on page 536

1703: Foundation of St Petersburg

1762: Catherine II, Empress of Russia

531

H_The Dec 2013_Layout 1 12/17/2013 11:09 AM 532 Page 532 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:19 PM Page

— 19th century — 1800-1810 IBERIIAN PENINSULA

1811-1820

1821-1830

1831-1840

1841-1850

1810-1826: The Spanish colonies of America, except for Cuba and Puerto Rico, gained their independence

ITALY

FRANCE

BRITISH ISLES

1804: Napoleon I crowned emperor

1802: Treaty of Amiens (end of the wars with France)

1814: Abdication of Napoleon defeated by the armies of Britain, Russia and Austria. Louis XVIII ascends the throne

1822: Champollion studies Egyptian hieroglyphics

1811-1820: Regency period. Flowering of the arts and literature

1839: Nicéphore Niepce and Louis Daguerre invent the daguerrotype (early process of photography)

1848: Napoléon III is sacred Emperor of the Second Empire

1854 Crim and F Russ

1854 Unite decla

1834: A furnace destroys most of Wesminster Palace

1859 Publ of Sp

1815: George Stephenson invents the railroad locomotive

CENTRAL EUROPE (INCLUDING GERMANY)

1815: Defeat of the french army againt Prussia and England at Waterloo

FLANDERS (BELGIUM; NETHERLANDS)

1803: Louisiana sold to the United States by Napoleon

1812: War with Great Britain

1831: Belgian independence from the Netherlands

1823: Monroe Doctrine

AMERICA

1834: Thomas Davenport makes the first electric motor commercially successful

1848: James W. Marshall discovers gold in California

1860 Elect

1810-1826: The Spanish colonies of America, except for Cuba and Puerto Rico, gained their independence 1825-1855: Nicolas I, Tsar of Russia, enforces military discipline, censorship and traditions of the Orthodox Church

RUSSIA

532

1801: Assassination of Tsar Paul I. Alexander I is brought to power

1854 Unite decla

1812: Napoleon invades Russia

1860 move

see legends on page 536

H_The Dec 2013_Layout 1 12/17/2013 11:09 AM 533 Page 533 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:19 PM Page

— 19th century — 1851-1860

1861-1870

1871-1880

1881-1890

1891-1900

1861: Italian Kingdom is proclaimed. Victor-Emmanuel II is crowned

mpire

1854-1856: Crimean War, United Kingdom and France declare war on Russia

1854-1856: Crimean War, United Kingdom and France declare war on Russia 1859: Publication of Darwin’s Origin of Species

1869: Charles Cros invents a process for colour photography (based on three colours)

1871: Repression of the Commune in Paris

1885: First use of vaccine for rabies invented by Louis Pasteur

1895: August and Louis Lumière invent the first motion-picture projector 1898: Marie Curie discovers radium

1870: French defeated by Prussians. Fall of Second Empire

1871-1914: Expansion of French Colonial Empire (Indochina and Africa) 1875-1940: Third Republic

1867: Publication of the first volume of Karl Marx' Capital

1837-1901: Victoria, Queen of Great Britain. India under control of the British Empire (1857-1947) 1871: Proclamation of the German Empire 1877: Heinrich Hertz discovers electromagnetic radiation, first radio emission

1862: Emancipation Proclamation (end of slavery) ers

1860: Election of Abraham Lincoln

1861-1865: American Civil War 1868: Christopher Latham Sholes develops the typing machine

1876: Alexander Graham Bell invents the telephone 1879: First incandescent lamp (Thomas Alva Edison and Joseph Wilson Swan)

1890s: Discovery of psychoanalysis with Sigmund Freud in Vienna

1890: Halifax first city to be totally lit up with electricity

1897: New York Journal publishes the first comic strip 1898: Spanish-American War

1848-1896: Gold rushes in the Western United States

1854-1856: Crimean War, United Kingdom and France declare war on Russia

1861: Emancipation of the serfs

1860s: Russian populist movement (the narodniki)

1855-1881: Tsar Alexander II of Russia

see legends on page 536

533

H_The Dec 2013_Layout1 112/16/2013 12/17/20131:51 11:09 Page 534 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_4C_Layout PMAM Page 534

— 20th century — 1900-1910

IBERIAN PENINSULA

1911-1920

1921-1930

1931-1940 1931: Spanish Second Republic 1936: Coup by Franco and Civil War (1936-1939)

1914-1918: First World War

1939-1945: Second World War 1922-1943: Mussolini leads Italy, creation of a fascist state 1915: Vittorio Emanuel III declares war to Austria-Hungary

ITALY

1907: Louis Lumière develops a process for colour photography FRANCE 1908: First cartoon shown (invention of cellulos)

BRITISH ISLES

1903: Woman’s right to vote

1929: Lateran Treaties, creation of the State of Vatican

1945 End

1914-1918: First World War

1939-1945: Second World War

1914-1918: First World War

1939-1945: Second World War

1919: Treaty of Versailles (Official end of World War I)

1914-1918: First World War

1945 Indo 1947 inde Emp

1925: John Baird invents the television 1939-1945: Second World War

1912-1913: Balkan Wars 1914: Assassination of the archiduke François-Ferdinand and his wife the duchess of Hohenberg at Sarajevo 1914-1918: First World War CENTRAL EUROPE (INCLUDING GERMANY)

1925-1926: Heisenberg and Schrödinger’s theories of quantum mechanics

1915: Einstein works out the theory of relativity 1916: Freud. Introduction to psychoanalysis 1919-1933: Weimar Republic 1933-1945: Hitler, chancellor of Germany

FLANDERS (BELGIUM; NETHERLANDS)

1914-1918: First World War

1939-1945: Second World War 1941 by th

1900: First flight on a biplane by Wilbur and Orville Wright AMERICA

1910: Dunwoody and Pickard invent the crystal detector (used for receiving radio broadcast)

1914: Henry Ford mechanises mass-production

1942 bom

1914: Inauguration of the Panama canal

1944 Univ

1917: U.S.A. enter the First World War

1945 Hiro 1939-1945: Second World War 1922-1953: Stalin General Secretary of the Communist Party of the Soviet Union

RUSSIA

534

1904-1905: Russo-Japanese War. Rivalry for dominance in Korea and Manchuria

1914-1918: First World War 1917: Russian Revolutions. Abdication of Tsar Nicolas II

1939-1945: Second World War

see legends on page 536

H_The Dec 2013_Layout1 112/16/2013 12/17/20131:51 11:09 Page 535 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_4C_Layout PMAM Page 535

— 20th century — 1941-1950

1951-1960

1961-1970

c il

1971-1980

1981-1990

1991-2000

1975: Death of Franco. Restoration of democracy and the Spanish monarchy

1945: Execution of Mussolini. End of fascist state.

1958: Fifth Republic 1945-1960: Conflicts and Decolonization. Algeria (1945-1947), Indochina (1946-1954), Africa (1956-1960), Maghreb (1954-1962) 1947: India gains its independence from the British Empire

1969: First trial flight of the Concorde

1953: James Watson and Francis Crick discover the structure of DNA

1973: First babies born through in-vitro fertilisation

1955: First radio telescope by Jodrell Bank

1947-1991: Cold War

1961: Erection of the Berlin Wall

1939-1945: Second World War

1941: Attack of Pearl Harbor by the Japanese 1942: First nuclear fission bomb 1944: First computer at the University of Pennsylvania 1945: Atomic bombing of Hiroshima

1989: Fall of the Berlin Wall

1950-1953: War of Korea 1951: First nuclear reactor 1960: Theodore Maiman invents the laser

1969: Neil Amstrong and Edwin Aldrin walk on the moon

1972-1976: Vietnam War

1981: First space shuttle launched by the United States

1960: First satellite for telecommunication created by the NASA

1953: Khrushchev, leader of Soviet Union, starts De-Stalinization

1961: First cosmonaute Youri Gagarine flies around the world

1957: Sputnik, first satellite launched see legends on page 536

535

H_The Dec 2013_Layout 1 3/12/2014 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:193:14 PM PM PagePage 536 536

Legend 13th century

19th century

Byzantine

Arts and Crafts

Ashcan School

Gothic

Art Nouveau

Bauhaus

Roman

Hudson River School

Camden Town group

Impressionism

COBRA

Naïve Art

Constructivism

Naturalism

Cubism

Neoclassicism

Dada

Post-Impressionism

Expressionism

Pre-Raphaelite Brotherhood

Fauvism

Realism

Free Figuration

Romanticism

Futurism

School of Barbizon

New Realism

Symbolism

Minimal Art

14 century th

Byzantine Gothic

15th century Byzantine Renaissance

16th century High Renaissance Mannerism

Pop Art 20th century

17th century

Post-Impressionism

Abstract Expressionism

Rayonnism

Abstraction

Regionalism

American scene

Social Realism

Art Deco

Surrealism

Art Informel

Symbolism

Baroque

18th century Baroque Neoclassicism Art Nouveau Rococo Romanticism 536

Arte Povera

H_The Dec 2013_Layout 1 12/17/2013 11:09 AM 537 Page 537 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:19 PM Page

Glossary A Abstraction: International, 20th century, see works by Kandinsky, Malevich, and Pollock. Art style, begun in 1910 with Kandinsky. Renunciation of naturalistic representation, art without reference to any figurative reality. The term is also used for different movements that are part of Abstraction such as Geometric Abstraction, Abstract Expressionism and Lyrical Abstraction. Academism: International, mid-19th century, see works by Bouguereau. Official style influenced by the standards of the French Académie des Beaux-Arts (in particular pretentious history paintings). Action painting: USA, Post-World War II movement, see works by Pollock. Generally associated with Abstract Expressionism. Manner in which paint is spontaneously splashed onto a surface. Generally, the term is given to the process of creation rather than to the achieved work. Art Informel: Europe, 1950s, see works by Tàpies. Refers to anti-compositional, formal preoccupations related to Abstract Expressionism. Art Nouveau: International, late-19th century to early-20th century, see works by Mucha. A style in painting, sculpture, architecture, and design. Style characterized by the use of decorative motifs, vegetal derived patterns, sinuous curves, simple compositions, and denial of volume.

B Baroque: Europe, 17th to mid-18th centuries, see works by Rubens, Rembrandt, Pietro da Cortona, Van Dyck, and Murillo. In contrast with the intellectual qualities of Mannerism, the Baroque displays a more immediate iconography, characterized by dramatic effects of light, dynamics, contrasts or forms, and illusionist pictorial space.

C Camera obscura: Dark box or chamber with a small hole or a lens on one side, through which light comes in. On the opposite side, an inverted image reflected on a mirror appears on a glass panel that can be reproduced. It was used for instance by Canaletto to help obtain a precise reproduction of townscapes.

Charcoal: See works by Signorelli, Leonardo da Vinci, Millet, Redon, and Boccioni. The marks and stains of charcoal can be modified with tools such as sponges, stumps or the hands. Many tones can be obtained, and it is ideal for chiaroscuro, ranging from total black to the white of the paper. Chiaroscuro (from Italian: bright-dark): Europe, 16th to 18th centuries, see works by Rembrandt. Technique existing before Caravaggio but made definitive by the artist. Based on high contrasts of light and shade, suggesting three-dimensional volumes and bringing high drama to the subjects. Classicism: Europe, 17th century, see works by Carracci, Poussin, and Lorrain. Style referring to an ideal beauty inspired by the antique Greco-roman model. Developed in Italy with Carracci, brought to France by Poussin and Lorrain. Praises the perfection of drawing and the superiority of historical painting. Cubism: France, 1907-1914, born with Picasso and Braque. See also Juan Gris. Refers to broken up and reassembled works. Depiction of the object from multiple angles represented simultaneously, reducing nature to its geometric elements.

D Dada: International, 1915-1922, see works by Picabia. Movement created in reaction against bourgeois values and World War I, putting emphasis on the absurd and ignoring aesthetics. Found its expression in the ready-made. Divisionism: France, late-19th century, works by Seurat and Signac. Movement part of Post-Impressionism based on a style of painting, Pointillism, in which non-primary colours are generated by the visual mixing of points of juxtaposed primary colours.

E Expressionism: Germanic countries and Northern Europe, early-20th century, see works by Munch, Kirchner, and Schiele. Works of expressive emotion with bold contours, crude colours, and anatomical and spatial distortions. In Germany, it was associated with the groups Die Brücke and Der Blaue Reiter.

537

H_The Dec 2013_Layout 1 12/17/2013 11:09 AM 538 Page 538 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:19 PM Page

F Fauvism: France, 1905-1907, see works by Matisse, Derain, and Friesz. The first definite revolt against Impressionism and academic rules of art. Movement emerging from Divisionism and influenced by Gauguin’s paintings. Use of vibrant patches of colour of extreme intensity to build a picture. The movement initiated the eruption of Modernity. Futurism: Italy, early-20th century, see works by Balla and Boccioni. Movement celebrating the machine age, glorifying war, and often associated with Fascism. Characterised by the expression of dynamism and the repetition of forms to suggest movement.

G Gothic: Europe, 13th to early-16th centuries, see works by Monaco, Lorenzetti, and Jean Pucelle. Style characterized by well organised space and more dynamic representations. An International Gothic style developed in Burgundy, Bohemia and Italy (14th to 15th centuries) with rich, stylistic features and decorative colouring. Gouache: See works by Schiele, Rouault, Pollock, and Calder. Gouache is a more liquid paint than oil, as it is diluted with water. Although it shares this quality with watercolour, the result is opaque.

I Impressionism: France, late-19th century, see works by Monet, Renoir, Manet, and Degas. A manner in painting that attempts to capture the subjective impression of the effects of light and colour in a scene. Most commonly landscapes painted ‘en plein-air’.

Elegant and refined style dominated by profane subjects, complex compositions, muscular and elongated figures in complex poses, with qualities of grace, sophistication and precious details. Metaphysical art: Italy, 1911-1920, see works by Giorgio de Chirico. Art that uses common imagery presented in incongruous ways to produce unease in the viewer. It was crucial to the development of Surrealism. Minimal art: USA, late 1960s, see works by Kelly. Based on the reduction of the historical and expressive content of an object to an absolute minimum. Large, simplified, and often geometric, forms.

N Nabis: France, late 19th - early 20th century, see works by Bonnard and Vallotton. Post-Impressionist avant-garde group whose driving force was Sérusier. Characterised by flat colouring of the surface, colours taken straight from the tube and often esoteric in spirit. Naturalism: Europe, 1880-1900. Extension of Realism, Naturalism aims at an even more realistic depiction of nature. Neoclassicism: Europe, 1750-1830, see works by David, Prud’hon, and Ingres. Movement based on J. Winckelmann’s theories on Ancient Greek art and showing a new interest for simplicity and moral values. Art of balance and elegant precision, far from the former expressions of passion. Neo-Expressionism: International, 1970s and 1980s, see works by Basquiat. Large and rapidly executed figurative painting with aggressive colours. Non-Figuration: France, 1930 to late-20th century, see works by Vieira da Silva and Nicolas de Staël. Art taking its inspiration in nature without imitating it.

Ink: See works by Pieter Bruegel the Elder, Rembrandt, Canaletto, Goya, and Beardsley. It is generally liquid, although it can also come in the form of a stick which has to be grinded and diluted. Its most common colours are black and sepia. It is mainly employed with pen or brush. When using the latter, the technique is the same as watercolour, and is called ‘wash’.

M Mannerism: Europe, 1525-1600, see works by Parmigianino, Pontormo, and Tintoretto.

538

P Pastel: See works by Degas, Whistler, Klimt, and Redon. As with charcoal, pastel marks can easily be manipulated with stumps or the hand. The tones are obtained by mixing the different colours directly on the support of the work. If there is an excess of pastel, it can be partially removed with a dry brush. Perspective/Linear perspective: Paolo Uccello discovered perspective of which he made a kind of mathematical poetry, a system to create the illusion of space and

H_The Dec 2013_Layout 1 12/17/2013 11:09 AM 539 Page 539 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:19 PM Page

— Glossary — distance on a flat surface. The first scientific study of perspective can be read in Alberti’s treatise De Pictura (1435-1436). Pop art: UK, USA, 1950s, see works by Warhol and Johns. Movement characterised by the incorporation of popular mass culture, as opposed to elitist culture, into artistic technique, style and imagery. Post-Impressionism: France, late-19th century, see works by Seurat, Cézanne, Van Gogh, Gauguin, and Toulouse-Lautrec. Young artists and movement reacting in different ways against Impressionism, which had become the official style of the end of the century. Pre-Raphaelite Brotherhood: English, mid-19th century, see works by Millais and Rossetti. A group of artists that believed the classical compositions of Raphael had corrupted the academic teaching of art. They developed a naturalistic style in pictures of religious and medieval subjects. Primitivism: Europe, late-19th century, see works by Gauguin. Refers to a style focusing on the tribal arts of Africa, Oceania and North America, believed at the time to be less developed.

R Realism: France, mid-19th century, see works by Courbet. The rendering of everyday characters, subjects and events in a manner close to reality, in contrast to classical, idealised forms. It inspired Corot, Millet and the Barbizon School painters. Renaissance: Europe, c. 1400-1520, see works by Botticelli, Leonardo da Vinci, Dürer, Raphael, and Michelangelo. Period of great creative and intellectual activity, breaking away from the restrictions of Byzantine Art. Study of anatomy and perspective through the understanding of the natural world. Rococo: Europe, 1700-1770, see works by Watteau, Boucher, and Fragonard. An exuberant style that began in France, characterised by great displays of ornamentation, tumultuous compositions and light, delicate colours, and curving forms. Romanticism: Europe, 1750-1850, see works by Friedrich, Géricault, and Delacroix. Anti-classical aesthetics bearing emotional content, often depicting melancholic and poetic landscapes, or exotic content.

S School of Barbizon: France, 1830-1870, see works by Rousseau, Corot, and Millet.

Landscape painters, or painters of peasant scenes, gathered near the forest of Fontainebleau. Contributed to Realism and inspired by Romanticism. Silverpoint: See works by Pisanello, Botticelli, Dürer, and Leonardo da Vinci. One of several types of metalpoint. A silverpoint drawing is made by dragging a silver rod or wire across a surface, often prepared with gesso or primer. The softness of these metals makes them effective drawing instruments. Sinopia: See works by Lorenzetti, Buffalmacco, Pisanello, and Andrea del Castagno. The sinopia is the phase of fresco painting where the cartoon is transferred to the wall. Holes will have been made along the lines of the drawing, so it can be stencilled onto the prepared wall. Suprematism: Russia, c. 1913-1920s, see works by Malevich. Abstract avant-garde movement created by Kazimir Malevich that was purely aesthetic, free from any political or social meaning, stressing the capacity of pure geometric forms to convey feeling. Surrealism: Europe, 1923 to mid-20th century, see works by Ernst, Dalí, Masson, and Magritte. Artistic exploration of dreams, the intimate, and the imagery of the subconscious mind. Use of the technique of psychic automatism. Symbolism: Europe, late-19th century, see works by Klimt, Moreau, and Redon. Movement taking inspiration from poetry, mythology, legends or in the Bible, characterised by flattened forms, undulating lines, and search for aesthetic harmony.

V Vorticism: Great Britain, 1914-1918, see works by Lewis, GaudierBrzeska, and Epstein. Artistic and literary movement founded by the editor of Blast magazine, Wyndham Lewis. It violently rejected 19thcentury Victorian art and embraced the formal lessons of Cubism and the Futurists’ exaltation of the machine.

W Wash: See Ink. Watercolour: See works by Turner, Blake, Delacroix, and Kandinsky. Watercolours are very finely ground pigments bound with gum arabic, which is very easily diluted with water. Technique that requires great skill as it allows no rectifications.

539

H_The Dec 2013_Layout 1 3/12/2014 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:193:14 PM PM PagePage 540 540

Index of Artists A

Braque, 1882-1963 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .808, 809, 810

Altdorfer, c. 1480-1538 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156, 190, 193

Bril, 1553/1554-1626 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .339

Andrea del Castagno, before 1419-1457 . . . . . . . . . . . . . . . . . . . . . . . . . . . .43, 46

Bronzino, 1503-1572 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

Andrea del Sarto, 1486-1530 . . . . . . . . . . . . . . . . . . . . . . .207, 208, 211, 212, 230

Bruegel the Elder, Jan, 1568-1625 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326

Anonymous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2, 5, 6, 17, 26, 27, 28, 459

Bruegel the Elder, Pieter, c. 1525-1569 . . . . . . . . . . . . . . . . . . .274, 275, 276, 277,

Arcimboldo, 1527?-1593 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308, 314, 320, 321

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .278, 279, 280, 281, 282, 283,

Artaud, 1896-1948 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .958

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .287, 288, 290, 291, 292, 294

Aspertini, c. 1474-1552 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171, 184

Bruegel the Younger, Pieter, 1564-1638 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .334

Avercamp, 1585-1634 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .345, 354

Buffalmacco, active 1315-1336 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11, 12 Burne-Jones, 1833-1898 . . . . . . . . . . . . . . . . . . . . . . . . . .621, 627, 628, 655, 656

B Bakst, 1866-1924 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .760, 765

C

Baldung Grien, 1484/1485-1545 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154, 158

Calder, 1898-1976 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .981, 982, 983

Balla, 1871-1958 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .821, 822, 834

Callot, 1592-1635 . . . . . . . . . . . . . . . . . . . . . . . . . .373, 377, 378, 379, 380, 381,

Balthus, 1908-2001 . . . . . . . . . . . . . . . . . . . . . .917, 924, 933, 945, 953, 972, 990

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .382, 389, 395, 396, 397

Bandinelli, 1488-1560 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187

Canaletto, 1697-1768 . . . . . . . . . . . . . . . . . . .473, 475, 476, 477, 478, 479, 480,

Barocci, c. 1535-1612 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315, 316, 324

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .481, 482, 486, 487, 491, 501, 502

Barye, 1796-1875 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .602

Cano, 1601-1667 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .428

Basquiat, 1960-1988 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .985, 994, 995, 996, 999

Caron, 1521-1599 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .289, 293

Bassano, c. 1510-1592 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270, 271

Carpaccio, 1460/1466?-1525/1526 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123, 138

Batoni, 1708-1787 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .490, 493

Carracci, 1560-1609 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317, 330, 332

Bazille, 1841-1870 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .642

Casanova, 1727-1803 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .506

Beardsley, 1872-1898 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .726, 732, 733, 735, 739

Cézanne, 1839-1906 . . . . . . . . . . . . . . . . .641, 651, 658, 675, 677, 681, 716, 748

Beckmann, 1884-1950 . . . . . . . . . . . . . . . . . . . . . . . . . . . .844, 857, 868, 959, 960

Chagall, 1887-1985 . . . . . . . . . . . . . . . . . . . . . . . . . .795, 823, 824, 827, 828, 829

Bega, 1631-1664 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .440, 441

Champaigne (de), 1602-1674 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .374, 385

Bellange, c. 1575-1616 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .335, 336

Chirico (de), 1888-1978 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .861, 912, 913

Bellini, Gentile, c. 1429-1507 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70, 71, 88

Claude Lorrain, 1600-1682 . . . . . . . . . . . . . . . . . . . . . . . .375, 404, 405, 407, 416,

Bellini, Giovanni, c. 1430-1516 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109, 110

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .418, 421, 445, 446, 449, 451

Bellmer, 1902-1975 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .971

Claudel, 1864-1943 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .692, 693, 706

Bellotto, 1722-1780 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .497

Clemente, b. 1952 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .992

Berchem, 1621/1622-1683 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433

Clouet, François, 1516?-1572 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296, 311, 312

Bernini, 1598-1680 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .394, 398, 423

Clouet, Jean, c. 1475-1540 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310

Berruguete, c. 1445-1503 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Constable, 1776-1837 . . . . . . . . . . . . . . . . . . . . . . . .552, 570, 575, 583, 584, 587

Blake, 1757-1827 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .554, 555, 565, 579, 585

Corneille the Younger, 1642-1708 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .457

Bloemaert, 1566-1651 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .338, 349

Corot, 1796-1875 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .586, 591, 606

Boccioni, 1882-1916 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .791, 792, 800, 851

Correggio, 1489?-1534 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200, 233, 242

Bonnard, 1867-1947 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .784, 874, 883, 914, 916

Courbet, 1819-1877 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .610, 633, 645

Bosch, c. 1450-1516 . . . . . . . . . . . . . . . . . . . . . . . . .129, 130, 139, 141, 153, 182

Cranach the Elder, 1472-1553 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161, 166, 201

Botticelli, 1445-1510 . . . . . . . . . . . . . . . . . . . . . . . . . . .72, 79, 80, 81, 83, 84, 85,

Cranach the Younger, 1515-1586 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87, 91, 105, 108, 124, 127 Boucher, 1703-1770 . . . . . . . . . . . . . . . . . . . . . . . . .472, 484, 485, 488, 495, 514

D

Boudin, 1824-1898 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .694

Dalí, 1904-1989 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .879, 899, 905, 906, 915

Bouguereau, 1825-1905 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .614

Daumier, 1808-1879 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .619, 620, 629, 634, 662

540

H_The Dec 2013_Layout 1 3/12/2014 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:193:14 PM PM PagePage 541 541

— Index of Artists —

David, 1748-1825 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .529, 550, 559, 563

Gilbert & George, b. 1943/1942 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .984

Degas, 1834-1917 . . . . . . . . . . . . . . . . . . . . . .632, 637, 638, 646, 649, 653, 654,

Giordano, 1634-1705 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .453, 454

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .660, 665, 668, 671, 722, 752

Giovanni da Milano, c. 1325-1370 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Delacroix, 1798-1863 . . . . . . . . . . . . . . . . . . . . . . . . .590, 592, 594, 595, 596, 598

Giovannino de’Grassi, c. 1350-1398 . . . . . . . . . . . . . . . . . . . . . . . . .19, 20, 21, 22

Denis, 1870-1943 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .729

Girodet-Trioson, 1767-1824 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .541

Derain, 1880-1954 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .763, 766, 768, 781

Giulio Romano, c. 1490-1546 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238, 239, 243

Desprez, 1743-1804 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .531, 533

Glover, 1767-1849 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .581, 582

Deutsch, 1484-1530 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189

Goltzius, 1558-1617 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .329

Dosio, 1533-1609 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301, 302, 305

Gorky, 1904-1948 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .911, 951

Dubois-Pillet, 1846-1890 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .709

Goya (de), 1746-1828 . . . . . . . . . . . .544, 545, 547, 548, 549, 564, 567, 568, 569

Dufy, 1877-1953 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .780, 875

Gozzoli, c. 1420-1497 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45, 107

Dumont, 1701-1781 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .499

Greuze, 1725-1805 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .509, 510, 519, 557

Dürer, 1471-1528 . . . . . . . . . . . . . . . . . . . . . . . . . . . .98, 100, 122, 146, 147, 149,

Gris, 1887-1927 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .796, 797, 830

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152, 160, 192, 202, 204, 220, 231

Gros, 1771-1835 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .558

Dusart, 1660-1704 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .458

Grosz, 1893-1959 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .831, 832, 860, 885 Grünewald, c. 1475-1528 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198, 205, 206

E

Guardi, 1712-1793 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .507, 508, 516

El Greco, 1541-1614 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299, 313

Guercino, 1591-1666 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .351, 403, 409, 410

Epstein, 1880-1959 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .820 Ercole de’ Roberti, c. 1450-1496 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66, 68

H

Ernst, 1891-1976 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .878, 888, 892

Hals, 1580-1666 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .439 Hausmann, 1886-1971 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .850

F

Herrera the Elder, c. 1590-1654 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .383, 384

Feininger, 1871-1956 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .929, 930, 957

Hobbema, 1638-1709 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .450

Flinck, 1615-1660 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .411

Hockney, b. 1937 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .997

Fouquet, c. 1425-1478 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Holbein the Elder, 1460/1465-1524 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178

Fra Angelico, c. 1395-1455 . . . . . . . . . . .29, 30, 32, 50, 51, 52, 53, 54, 55, 56, 57

Holbein the Younger, 1497/1498-1543 . . . . . . . . . . .223, 224, 226, 227, 228, 244,

Fra Bartolomeo, c. 1472-1517 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137, 140, 168

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245, 246, 247, 255, 259, 260, 261

Fragonard, 1732-1806 . . . . . . . . . . . . . . . . . . . . . . . . . . .503, 520, 521, 522, 526,

Hollar, 1607-1677 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .528, 530, 534, 535, 540

Hopper, 1882-1967 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .873, 890, 901

Francesco di Giorgio Martini, 1439-1501 . . . . . . . . . . . . . . . . . . . . . .111, 112, 114

Huet, 1803-1869 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .631

Friedrich, 1774-1840 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .576, 577, 580, 603 Friesz, 1879-1949 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .778, 779

I/J

Fuseli, 1741-1825 . . . . . . . . . . . . . . . . . . . . . . . . . . .523, 527, 536, 560, 561, 562

Ingres, 1780-1867 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .573, 593, 597, 604, 625 Jean d’Orleans, active c. 1356-1408 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

G

Johns, b. 1930 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .969, 970, 998, 1000

Gainsborough, 1727-1788 . . . . . . . . . . . . . . . . .471, 504, 517, 518, 524, 525, 543

Jones, 1895-1974 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .935

Gaudier-Brzeska, 1891-1915 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .803, 826

Jongkind, 1819-1891 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .643

Gauguin, 1848-1903 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .714, 720, 721

Jordaens, 1593-1678 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370, 390

Géricault, 1791-1824 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .571, 574, 578 Gerstl, 1883-1908 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .769

K

Ghirlandaio, 1448/1449-1494 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76, 97, 99

Kahlo, 1907-1954 . . . . . . . . . . . . . . . . . . . . . . . . . . .898, 907, 909, 943, 948, 949

Giacometti, 1901-1966 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .973

Kandinsky, 1866-1944 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .802, 804, 848, 872

541

H_The Dec 2013_Layout 1 3/12/2014 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:193:15 PM PM PagePage 542 542

Kelly, b. 1923 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .974, 975, 980

Millais, 1829-1896 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .613

Khnopff, 1858-1921 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .699

Millet, 1814-1875 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .605, 608, 612, 617

Kirchner, 1880-1938 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .756, 759

Miró, 1893-1983 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .882, 887

Klee, 1879-1940 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .819, 847, 852,

Modigliani, 1884-1920 . . . . . . . . . . . . . . .790, 798, 812, 816, 836, 854, 855, 856

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .877, 886, 895, 908

Monet, 1840-1926 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .618, 624, 630, 679

Klimt, 1862-1918 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .691, 696, 697, 719, 744,

Moore, 1898-1986 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .934, 937, 939

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .745, 746, 747, 758, 853

Moreau, 1826-1898 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .647, 648, 700

Kokoschka, 1886-1980 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .776, 815

Morisot, 1841-1895 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .723, 724

Kollwitz, 1867-1945 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .928

Morris, 1834-1896 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .615, 616, 678

Koninck, 1609-1656 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .388

Moser, 1868-1918 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .731 Mucha, 1860-1939 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .742, 753, 754

L

Munch, 1863-1944 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .730, 741, 755, 771

Lagneau, c. 1600-1650 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331

Murillo, 1617-1682 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .427

Lam, 1902-1982 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .894 Larionov, 1881-1964 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .838, 839, 840, 864 Laurens, 1885-1954 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .846 Le Brun, 1619-1690 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .429, 432, 447, 448, 455 Lear, 1812-1888 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .623

N Natoire, 1700-1777 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .513 Nattier, 1685-1766 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .483 Niccolò dell’ Abate, 1509-1571 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170, 185

Léger, 1881-1955 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .884 Leonardo da Vinci, 1452-1519 . . . . . . . . . . . . . . . . . . . . . .69, 92, 94, 95, 96, 103, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104, 113, 119, 120, 121, 125, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142, 143, 144, 148, 155, 177 Leoni, 1578-1630 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .369

O O’Keeffe, 1887-1986 . . . . . . . . . . . . . . . . . . . . . . . . . . . .859, 896, 897, 922, 923, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .925, 926, 955, 963 Olbrich, 1867-1908 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .725

Lewis, 1882-1957 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .805, 807 Lievens, 1607-1674 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .425 P/Q Lippi, Filippino, c. 1457-1504 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77, 86, 90, 93 Lippi, Filippo, 1406-1469 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58, 60, 61 Liss, c. 1595-1631 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .356 Lo Spagna, c. 1450-1528 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134 Lorenzetti, 1285-1348 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9, 10 Lorenzo Monaco, c. 1370-1425 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23, 24, 25 Luce, 1858-1941 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .750

Palma il Giovane, 1548-1628 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .348 Parmigianino, 1503-1540 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199, 215, 217 Perino del Vaga, 1501-1547 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240 Perréal, c. 1455-1530 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 Perugino, c. 1450-1523 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106, 126, 131, 136 Peruzzi, 1481-1536 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172, 173, 176 Piazzetta, 1682-1754 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .468

M Mabuse, c. 1478-1532 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169, 218 Magritte, 1898-1967 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .893, 902, 903, 904, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .932, 944, 954, 978, 979

542

Picabia, 1879-1953 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .837, 845, 880, 910 Picasso, 1881-1973 . . . . . . . . . . . . . . . . . . . . .772, 775, 777, 793, 806, 835, 862, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .863, 866, 867, 881, 927, 938 Pietro da Cortona, 1596-1669 . . . . . . . . . . . . . . . . . . . . . . . . .420, 424, 426, 444

Malevich, 1878-1935 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .869, 870, 871

Piper, b. 1948 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .989

Man Ray, 1890-1976 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .799, 811

Pisanello, c. 1395-1455 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36, 38, 42, 44

Manet, 1832-1883 . . . . . . . . . . . . . . . . . . . . . .626, 636, 639, 644, 652, 664, 676

Pissarro, 1830-1903 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .680

Manglard, 1695-1760 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .496

Pollaiuolo (del), c. 1432-1498 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73, 74, 101

Mantegna, 1430/1431-1506 . . . . . . . . . . . . . . . . . .41, 64, 67, 102, 116, 117, 118

Pollock, 1912-1956 . . . . . . . . . . . . . . . . . . . . . . . . . .946, 947, 950, 952, 961, 962

Marc, 1880-1916 . . . . . . . . . . . . . . . . . . . . . . . . . . . .787, 788, 825, 841, 842, 843

Pontormo, 1494-1557 . . . . . . . . . . . . . . . . . . .216, 219, 234, 236, 241, 249, 262

Marçal de Sas, active c. 1393-1410 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13, 14, 15

Potter, 1625-1654 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435

Masson, 1896-1987 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .889, 900, 931, 936

Poussin, 1594-1665 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .346, 352, 364, 376, 402

Matisse, 1869-1954 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .767, 794, 858, 876, 942

Primaticcio, 1504-1570 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .272, 273

Menzel, 1815-1905 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .657, 707

Prud’hon, 1758-1823 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .532, 551, 553

Michelangelo, 1475-1564 . . . . . . . . . . . . . . . . .150, 163, 214, 221, 222, 235, 237,

Pucelle, c. 1300-1334 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7, 8

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251, 256, 257, 258, 266, 295

Queen Mary Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3, 4

H_The Dec 2013_Layout 1 3/12/2014 H_The Book Book Drawings_Chronology+Glorrasy+Index_ENG_P-OK(P-5)_13 Drawings_Chronology+Glorrasy+Index_ENG_A-OK_23 Oct 2013_Layout 1 12/13/2013 4:193:15 PM PM PagePage 543 543

— Index of Artists — R

T

Raphael, 1483-1520 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145, 151, 157, 159,

Tàpies, 1923-2012 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .956

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162, 164, 174, 175,

Tiepolo, Giovanni Battista, 1696-1770 . . . . . . . . . . . . . . . . . . . .489, 492, 498, 500

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181, 191, 194, 195

Tiepolo, Giovanni Domenico, 1727-1804 . . . . . . . . . . . . . . . . . . . . . . . . . .546, 556

Redon, 1840-1916 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .650, 661, 663, 670, 738

Tintoretto, 1518-1594 . . . . . . . . . . . . . . . . . . . . . . . . . . . .297, 298, 300, 306, 307

Rembrandt, 1606-1669 . . . . . . . . . . . . . . . . . . . . . .353, 367, 368, 371, 400, 412,

Titian, 1489/1490-1576 . . . . . . . . . . .165, 179, 180, 183, 188, 197, 229, 285, 286

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .413, 414, 417, 419, 422, 442

Toorop, 1858-1928 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .705

Remington, 1861-1909 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .711

Torres (de), 1635-1711 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .456

Reni, 1575-1642 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .343, 365, 366

Toulouse-Lautrec (de), 1864-1901 . . . . . . . . . . .703, 708, 736, 737, 743, 749, 751

Renoir, 1841-1919 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .687, 688

Tura, c. 1433-1495 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Repin, 1844-1930 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .667, 727

Turner, 1775-1851 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .572, 589, 599, 600, 601

Richardson, 1665-1745 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .474 Rivera, 1886-1957 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .891, 918, 919, 920, 921 Robert, 1733-1808 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .505, 511, 512, 515 Rodin, 1840-1917 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .622, 673, 674, 757 Rosa, 1615-1673 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .431, 434, 436 Rossetti, 1828-1882 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .609, 611, 635, 640 Rosso Fiorentino, 1494-1540 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196, 213 Rouault, 1871-1958 . . . . . . . . . . . . . . . . . . . . . . . . . .773, 774, 801, 865, 940, 941 Rousseau, 1812-1867 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .607 Rubens, 1577-1640 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327, 328, 340, 341, 342, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .344, 350, 357, 358, 359

U/V Uccello, 1397-1475 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40, 48, 59, 65 Valdés Leal (de), 1622-1690 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .437 Vallotton, 1865-1925 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .717, 734, 782 Van de Velde, Adriaen, 1636-1672 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443 Van de Velde, Esaias 1587-1630 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .360 Van de Velde, Willem, 1611-1693 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .430 Van der Goes, c. 1420-1482 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Van der Weyden, c. 1399-1464 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39, 47, 49 Van Dyck, 1599-1641 . . . . . . . . . . . . . . . . . . . .347, 372, 386, 387, 393, 399, 401 Van Eyck, c. 1390-1441 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31, 37

Runge, 1777-1810 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .566 Van Gogh, 1853-1890 . . . . . . . . . . . . . . . . . . . .684, 702, 704, 710, 712, 713, 728 Van Goyen, 1596-1656 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .438 S

Van Heemskerck, 1498-1574 . . . . . . . . . . . . . . . . . . .248, 250, 252, 253, 254, 284

Saenredam, 1597-1665 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .408 Salviati, 1510-1563 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264, 269 Sangallo the Younger (da), 1484-1546 . . . . . . . . . . . . . . . . . . . . . . . .167, 186, 263 Sargent, 1856-1925 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .701, 715, 718, 814 Schiele, 1890-1918 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .785, 786, 813, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .817, 818, 833, 849 Schongauer, c. 1435-1491 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89 Sebastiano del Piombo, 1485/1486-1547 . . . . . . . . . . . . . . . . . . . . . .203, 209, 210 Segantini, 1858-1899 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .740 Serov, 1865-1911 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .695, 761, 762, 783, 789 Seurat, 1859-1891 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .682, 683, 685, 686, 689

Van Orley, c. 1488-1542 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225, 232 Van Ostade, 1610-1685 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391, 452 Vanloo, 1705-1765 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .494 Vasari, 1511-1574 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .265 Velázquez, 1599-1660 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362, 363, 392, 415 Veronese, 1528-1588 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .303, 304 Verrocchio (del), 1435-1488 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 Vieira da Silva, 1908-1992 . . . . . . . . . . . . . . . . . . . . . . . . .976, 987, 988, 991, 993 Villard de Honnecourt, 1190-1235 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Visscher the Younger, 1587-1652 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .355 Vries (de), c. 1545-1626 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309

Severini, 1883-1966 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .764 Shotter Boys, 1803-1874 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .588

W/Z

Signac, 1863-1935 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .690

Warhol, 1928-1987 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .977, 986

Signorelli, c. 1440-1523 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128, 132, 133, 135

Watteau, 1684-1721 . . . . . . . . .460, 461, 462, 463, 464, 465, 466, 467, 469, 470

Signorini, 1835-1901 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .669

West, 1738-1820 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .537, 539

Sisley, 1839-1899 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .659, 666

Whistler, 1834-1903 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .672, 698

Somov, 1869-1939 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .770

Wille, 1748-1821 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .538, 542

Spranger, 1546-1611 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325, 333

Witte (de), c. 1548-1628 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .323

Staël (de), 1914-1955 . . . . . . . . . . . . . . . . . . . . . . . . . . . .964, 965, 966, 967, 968

Witz, c. 1400-1445 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Stefano da Verona, c. 1374-1438 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33, 35

Zuccaro, 1540/42-1609 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .337

Stradanus, 1523-1605 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318, 319, 322

Zurbarán (de), 1598-1664 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .406

543

Long thought of as the neglected stepchild of painting, the art of drawing has recently begun to enjoy a place in the sun. With major museums around the world, from the Met to the Uffizi, mounting exhibitions focused on the art of draughtsmanship, drawing is receiving more critical and academic attention than ever before. This captivating text gives readers a sweeping analysis of the history of drawing, from Renaissance greats like Leonardo da Vinci and Michelangelo, to modernist masters like René Magritte, Pablo Picasso, and everyone in between.