Walch peter introduction (1 risultati)
Altre immaginiFrench Oil Sketches and the Academic Tradition: Selections from a Private Collection on Loan to the University Art Museum of the University of New Mexico, Albuquerque
Walch, Peter (introduction); commentaries by Barnes, Joanna R. and Marandel, J. Patrice with the assistance of Gustafson, Donna; Laing, Alastair and Latreille, Alain
Lingua: Inglese
Editore: The American Federation of Arts in Association with the University of Pennsylvania Press, 1994
- Rilegato
Da: Jorge Welsh Books, Lisboa, PortogalloJorge Welsh Books
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Buono
EUR 20,00
EUR 60,00 spedizioneSpedito da Portogallo a U.S.A.Quantità: 1 disponibili
Hardcover. Condizione: Good. Dust Jacket Included. English text.; Hardcover (with dust jacket).; 31 x 23.5 cm.; 1.1 kg.; 191 pages with colour illustrations.; Used with signs of wear on the exterior and interior. The dust jacket shows edge wear, scuffs and scratches, is slightly faded and shows an air bubble on the laminated lay…er on the front cover. Edges slightly bumped and turning inwards. Interior with minor signs of wear.; Catalogue from an exhibition organized by The American Federation of Arts and the University Art Museum of the University of New Mexico, Albuquerque held at: Mint Museum of Art, Charlotte, North Carolina, from October 14-December 11, 1994; The Society of the Four Arts Palm Beach, Florida, from January 6-February 5, 1995; The Arkansas Arts Center Little Rock, Arkansas, from March 2-June 4, 1995; Michael C. Carlos Museum, Emory University Atlanta, Georgia from September 22-November 19, 1995.; The oil sketch, in all its various forms. was indispensable to the French artistic tradition. Executed on canvas, paper, or panel, and usually on a relatively small scale, the sketch could serve as a preliminary compositional sketch in preparation for a painting (an esquisse), a detailed examination of a single motif (an llude), the drawing and under-painting on the final canvas (an tbauche), or a presentation piece shown to a patron before undertaking the final version (a modello). Equally as important and popular as a teaching device was the sketch copy, a loosely painted copy of one artist's work by another. While these sketches, which date from the seventeenth through the end of the nineteenth century, may differ in purpose, they reflect both the art historical styles of the times in which they were made-from Baroque to Rococo to Neoclassicism to Romanticism to Realism and the artist's response to the requirements of subject matter and of patronage. The Academie Royale de Peinture et de Sculpture, founded in Paris in 1648 as an alter-native to the old guild system, was the center for art instruction through the end of the nineteenth century, and the most skilled practitioners of oil painting - and the majority of artists included in the catalogue - belonged to the Académie. Membership in the Académie provided artists with the only opportunity to exhibit their work and was, therefore, crucial for professional success. Because the oil sketch played an important role in the planning and execution of finished works, these artists were well-versed in the practice of oil sketching. This catalogue explores the diversity and evolution of the oil sketch within the French academic tradition, with detailed discussions of 127 works, all of which are drawn from a private collection currently on loan to the University Art Museum of the University of New Mexico, Albuquerque. Among the artists whose works are included are François Boucher, Henri Fantin-Latour, Jean-Baptiste Hilaire, Adelaïde Labille-Guiard, Jean-Baptiste Le-prince, Jacques Sablet, and Simon Vouet.
