Title: From Drawing to Painting : Poussin, Watteau,...
Publisher: Princeton University Press, Princeton, New Jersey
Publication Date: 2000
Binding: Quarter Bound
Book Condition: Very Good
Dust Jacket Condition: Good
Edition: First Edition
244 pp. 258 b/w in-text figures. The A.W. Mellon Lectures in the Fine Arts, 1996. The National Gallery of art, Washington D. C. Bollingen Series XXXV : 47. Originally given as a series of lectures on the connection between the drawings and paintings of major French artists from the 17th through the 19th centuries with notes, selected bibliography and name index. Internally clean without marks or additions, sound binding, unread retail stock. Quarter bound with tan cloth covered spine and brown paper covered boards. Boards are slightly splayed at the foredge. Colour illustrated dustjacket has a surface abrasion from price sticker removal on the back panel otherwise in very good condition. Now protected by clear plastic book wrap. Due to weight (1.35 kg/2.97 lbs + packaging) additional shipping charges are required. Size: 4to - over 9¾" - 12" tall. Bookseller Inventory # 008562
Pierre Rosenberg, the distinguished art historian and director of the Musée du Louvre, has long admired and studied both paintings and drawings. This dual interest may seem commonplace but is in fact highly unusual: specialists in the field of drawing rarely write about painting, and vice versa. From Drawing to Painting offers a unique perspective by interweaving 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. Presenting over 260 illustrations, 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? 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.
Originally delivered as a series of Mellon Lectures at the National Gallery of Art, Washington, D.C., From Drawing to Painting gives the reader an unprecedented view of the artistic process. This richly illustrated book will make an important and beautiful addition to any art library.
About the Author: Pierre Rosenberg has been president and director of the Musee du Louvre since 1994. A member of the Academie francaise, he has published extensively on painting and drawing of the seventeenth and eighteenth centuries and has organized numerous exhibitions throughout the world. In collaboration with Louis-Antoine Prat, he has published catalogues raisonnes of the drawings of Poussin and Watteau and is undertaking similar publications for Fragonard, David, and Ingres.
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