EBOOK
From Drawing to Painting
Poussin, Watteau, Fragonard, David, And Ingres
Pierre RosenbergSeries: Bollingen4
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About
Unique perspectives from an acclaimed art historian on the relationship between drawing and painting
From Drawing to Painting interweaves biographical information about five renowned French artists-Nicolas Poussin, Antoine Watteau, Jean-Honoré Fragonard, Jacques-Louis David, and Jean-Auguste-Dominique Ingres-with a fascinating look at dozens of their drawings and the links that they have to their paintings. This book explores drawing as a site of reflection, the space between the idea of a painted image and its realization on canvas.
How, why, and for whom did these artists draw? What value did they place on their drawings? How did their drawings get handed down to us? In what way do they enable us better to understand the artists' intentions, their creative processes, and to penetrate their worlds? Pierre Rosenberg determines that each artist approached drawing in a distinctive way, reflecting his individual training, work habits, and personal ambitions. For example, Poussin viewed his drawings simply as working documents, Watteau preferred his drawings to his paintings, and Fragonard made a lucrative business selling his graphic work. For David and Ingres, drawing had a considerable pedagogical function, whether in copying the great works of their predecessors or in sharpening their own techniques.
From Drawing to Painting Offers an unprecedented view of the artistic process, and makes an important and beautiful addition to any art library.
Please note: All images in this ebook are presented in black and white and have been reduced in size. Pierre Rosenberg is honorary president of the Musée du Louvre in Paris, where he was director from 1994 to 2001. A member of the Académie Française, he has published extensively on painting and drawing of the seventeenth and eighteenth centuries and has organized numerous exhibitions throughout the world. His books include Only in America and Chardin. "[A] wonderful, charming and witty book. . . . The scholarship is personable and engaging, yet unobtrusive. A book for everyone, and a model of the unity, and expansiveness, of the art historical enterprise." "Beginning with a general introduction to the background and style of each artist's work, Rosenberg discusses what the drawings meant to each artist, who collected them, how drawings fit into the practice of the creation of paintings, and the tricky practice of attributing drawings." "Rosenberg poses in six chapters a series of basic questions on the nature, function, and connoisseurship of drawings. 'Basic' is, or course, a deceptive word, for the most basic questions can be the most challenging to answer. For general audiences, this book . . . is the equivalent of a tour with a patient guide through terrain that otherwise might be perceived as rarified or inhospitable. . . . For specialists, this volume of synthesis and reflection will prove a useful complement to the weighty compilations of fact and documentation in the catalogues raisonnes. . . . One can hope that younger scholars will be inspired to follow Rosenberg's example and give equal attention to drawing and painting as two sides of the same coin, as, of course, they are."---Perrin Stein, Master Drawings
From Drawing to Painting interweaves biographical information about five renowned French artists-Nicolas Poussin, Antoine Watteau, Jean-Honoré Fragonard, Jacques-Louis David, and Jean-Auguste-Dominique Ingres-with a fascinating look at dozens of their drawings and the links that they have to their paintings. This book explores drawing as a site of reflection, the space between the idea of a painted image and its realization on canvas.
How, why, and for whom did these artists draw? What value did they place on their drawings? How did their drawings get handed down to us? In what way do they enable us better to understand the artists' intentions, their creative processes, and to penetrate their worlds? Pierre Rosenberg determines that each artist approached drawing in a distinctive way, reflecting his individual training, work habits, and personal ambitions. For example, Poussin viewed his drawings simply as working documents, Watteau preferred his drawings to his paintings, and Fragonard made a lucrative business selling his graphic work. For David and Ingres, drawing had a considerable pedagogical function, whether in copying the great works of their predecessors or in sharpening their own techniques.
From Drawing to Painting Offers an unprecedented view of the artistic process, and makes an important and beautiful addition to any art library.
Please note: All images in this ebook are presented in black and white and have been reduced in size. Pierre Rosenberg is honorary president of the Musée du Louvre in Paris, where he was director from 1994 to 2001. A member of the Académie Française, he has published extensively on painting and drawing of the seventeenth and eighteenth centuries and has organized numerous exhibitions throughout the world. His books include Only in America and Chardin. "[A] wonderful, charming and witty book. . . . The scholarship is personable and engaging, yet unobtrusive. A book for everyone, and a model of the unity, and expansiveness, of the art historical enterprise." "Beginning with a general introduction to the background and style of each artist's work, Rosenberg discusses what the drawings meant to each artist, who collected them, how drawings fit into the practice of the creation of paintings, and the tricky practice of attributing drawings." "Rosenberg poses in six chapters a series of basic questions on the nature, function, and connoisseurship of drawings. 'Basic' is, or course, a deceptive word, for the most basic questions can be the most challenging to answer. For general audiences, this book . . . is the equivalent of a tour with a patient guide through terrain that otherwise might be perceived as rarified or inhospitable. . . . For specialists, this volume of synthesis and reflection will prove a useful complement to the weighty compilations of fact and documentation in the catalogues raisonnes. . . . One can hope that younger scholars will be inspired to follow Rosenberg's example and give equal attention to drawing and painting as two sides of the same coin, as, of course, they are."---Perrin Stein, Master Drawings
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