Bargue Charles (5 results)
- Softcover
Seller: WorldofBooks, Goring-By-Sea, WS, United KingdomWorldofBooks
Contact seller5-star sellerCondition: Used - Very good
£ 7.82
£ 5.60 shippingShips from United Kingdom to U.S.A.Quantity: 1 available
Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
- Softcover
Seller: Revaluation Books, Exeter, , United KingdomRevaluation Books
Contact seller5-star sellerCondition: New
£ 16.99
£ 10.00 shippingShips from United Kingdom to U.S.A.Quantity: 1 available
Paperback. Condition: Brand New. 176 pages. 11.02x8.43x0.39 inches. In Stock.
Published by Contentum Ltd., Larnaca, Cyprus
- Art Print
Seller: Contentum, Nicosia, CyprusContentum
Contact seller5-star sellerCondition: New
£ 16.07
£ 12.57 shippingShips from Cyprus to U.S.A.Quantity: Over 20 available
Loose Leaf. Condition: New. Reproduction. Original title: Two riders, part of the fries of the Parthenon German: Zwei Fahrer, Teil der Pommes des Parthenon French: Deux coureurs, une partie des frites du Parthénon Spanish: Dos jinetes, parte de las papas fritas del Partenón High-quality fine-art reproduction based on an original… work from the Rijksmuseum. Creation period: 19th century (1866). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.
Published by Contentum Ltd., Larnaca, Cyprus
- Art Print
Seller: Contentum, Nicosia, CyprusContentum
Contact seller5-star sellerCondition: New
£ 16.07
£ 12.57 shippingShips from Cyprus to U.S.A.Quantity: Over 20 available
Loose Leaf. Condition: New. Reproduction. Original title: Theseus, part of the fronton of the Parthenon German: Theseus, Teil des Frontons des Parthenons French: Theseus, une partie du fronton du Parthénon Spanish: Teseo, parte del frente del Partenón High-quality fine-art reproduction based on an original work from the Rijksmus…eum. Creation period: 19th century (1866). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.
More imagesPublished by Paris, Goupil & Cie Editeurs, no date (1868) 1868
Seller: Antiquariaat Fragmenta Selecta, AMSTERDAM, , NetherlandsAntiquariaat Fragmenta Selecta
Contact seller5-star sellerCondition: Used
£ 2,411.66
£ 20.81 shippingShips from Netherlands to U.S.A.Quantity: 1 available
[This course taught Vincent van Gogh how to draw human figures.] Loose-leaf plates on grey paper with the original white/grey paper backing. Dimensions: 44 x 59 cm. All plates are numbered. The following plates from the first series (Première partie) are on offer here: 1, 2, 5, 7, 9-12, 15-17, 19-22, 24-26, 28-29, 32, 36, 40, 42…, 46, 49, 52-53, 56. Details: All plates have a small printed colophon in a frame, with the general title, the part number and title, the plate number and the publishers name. In fine print at the bottom of the sheets the name of the printer Lemercier in Paris is mentioned on most plates. 27 plates also have a small blind stamp of the firm Goupil in the lower margin. See for this stamp the French database 'marquesdecollections', stamp no. L.1090. Condition: Mosts lithos are in rather good condition. The plates have evidently been used, a few have tiny pinholes. Some of them have been folded, showing creases. Most of the plates are frayed and worn at the edges, with a few small tears and dog-ears. Several plates are foxed or spotted. Four plates are in lesser condition: plate 2 has large folds, the lower corners are damaged and there is foxing; plate 26 has two long creases and a large tear; plate 36 has a crease, a damaged corner and a tear of six cm.; plate 56 is almost torn through the middle. NOTE: The beautiful plates of the famous Drawing Course (Cours de dessin) by Bargue and Gérome were made for beginning students of drawing schools and art academies to copy. In this way they could become familiar with the principles of contour, light, and shade, and at the same time develop an appreciation for 'good taste' by looking at examples of great art. The drawings of the first part of the course were made after plaster casts of famous classical and renaissance statues. The series starts with simple forms of isolated body-parts and then offers images of gradually increasing complexity. To help the student to manage the essential forms of a head or torso, many plates are divided into two parts. A schematic outline with straight lines and angles stands beside the finished drawing. § The plates of the drawing course are now hard to find. Of the original publication of 197 loose-leaf lithography plates, divided into three parts, there are only a few complete sets known. Our collection is a part of the first volume: 'Modèles d'après la bosse' (Models after casts), which consisted of 70 plates. It was published in 1868. The second series, completed in 1870, was: 'Modèles d'après les Maîtres de toutes les époques et de toutes les écoles' (Models after masters of all periods and all schools). The third series, completed in 1873, was: 'Exercices au fusain pour préparer à l'étude de l'académie d'après nature' (Charcoal exercises in preparation for drawing the academic nude). The first two sections were meant for schools for design and decorative arts. The third section with live models was used only in art academies. There were no instructions published with the plates, that was left to the teachers in the schools. It was common practice in the schools to start with copying prints and drawing from plaster casts of classical statues. As a second stage, students copied old masters. In the art academies, they then went on to live models. This training was part of the tradition of 19th century neoclassicsm. The imitation of nature was the only goal for artists. Objects and human bodies should be drawn and painted meticulously. Works of art were both realistic and idealistic, following the concept of 'good taste'. In France, this resulted in smooth and finished works, influenced by the standards of the French 'Académie des Beaux-Arts'. This so-called 'Academic Art' came under criticism at the end of the 19th century when the concept of art changed radically. The Drawing Course is the last great document of the 19th century tradition of art education. It was widely used in France and England. § Vincent van Gogh writes ab.
