Author: New York Public LibraryPublisher:
ISBN:
Category : Engraving
Languages : en
Pages : 20
Book Description
Prints and Their Production
Author: New York Public LibraryPublisher:
ISBN:
Category : Engraving
Languages : en
Pages : 20
Book Description
Estampes modernes : collection de M.M--
Author: Hôtel DrouotExhibition of Etchings by Rembrandt from the J. Pierpont Morgan Collection [by Frank Weitenkampf]
![Exhibition of Etchings by Rembrandt from the J. Pierpont Morgan Collection [by Frank Weitenkampf] PDF](https://books.google.com/books/content/images/frontcover/jXxBAQAAIAAJ?fife=w80-h100)
Author: John Pierpont MorganBulletin of the New York Public Library
Author: New York Public LibraryPublisher:
ISBN:
Category : Bibliography
Languages : en
Pages : 968
Book Description
Includes its Report, 1896-19 .
Second Catalogue of the Library of the Peabody Institute of the City of Baltimore, Including the Additions Made Since 1882
Author: Johns Hopkins University. Peabody Institute. LibraryPublisher:
ISBN:
Category : Catalogs, Dictionary
Languages : en
Pages : 620
Book Description
Catalogue de Livres Anciens Et Modernes
Author: Charles PorquetPublisher:
ISBN:
Category : Booksellers' catalogs
Languages : en
Pages : 808
Book Description
Estampes modernes
Author: Library Catalog of the Metropolitan Museum of Art, New York
Author: Metropolitan Museum of Art (New York, N.Y.). LibraryPublisher:
ISBN:
Category : Art
Languages : en
Pages : 1060
Book Description
French Master Drawings from the Collection of Muriel Butkin
Author: Carter E. FosterPublisher: Hudson Hills
ISBN: 9780940717671
Category : Art
Languages : en
Pages : 170
Book Description
Accompanying an exhibition at the Cleveland Museum of Art last fall and now at the Dahesh Museum in New York, this catalog focuses upon the French drawings in Muriel Butkin's highly specialized collection which she has promised to the Cleveland Museum. To assemble her diverse yet nicely integrated set of drawings, Butkin started buying 18th-century French drawings when they were affordable. In the mid-1970s, with the guidance of art historian Gabriel Weisberg, she expanded her collection to include 19th-century French drawings. These drawings were counter to the mainstream impressionist and postimpressionist taste of the time and focused more on academic French subject matter such as life drawings, portraits, or compositional studies. In the preface, Butkin herself reinforces her taste by saying that drawings are much more personal and spontaneous than paintings, often demonstrating the artistic process. Foster, curator of drawings at the Cleveland Museum, and other scholars present a well-researched volume that contributes new information to a very specialized field of art history. It is greatly disappointing, however, that the bulk of the reproductions are in black and white, often missing the subtly colored tones in many of the drawings. Nonetheless, this is recommended for museum and academic libraries that support graduate programs in art history. 183 b/w illustrations
The Purchase of the Past
Author: Tom StammersPublisher: Cambridge University Press
ISBN: 1108807224
Category : History
Languages : en
Pages : 375
Book Description
Offering a broad and vivid survey of the culture of collecting from the French Revolution to the Belle Époque, The Purchase of the Past explores how material things became a central means of accessing and imagining the past in nineteenth-century France. By subverting the monarchical establishment, the French Revolution not only heralded the dawn of the museum age, it also threw an unprecedented quantity of artworks into commercial circulation, allowing private individuals to pose as custodians and saviours of the endangered cultural inheritance. Through their common itineraries, erudition and sociability, an early generation of scavengers established their own form of 'private patrimony', independent from state control. Over a century of Parisian history, Tom Stammers explores collectors' investments – not just financial but also emotional and imaginative – in historical artefacts, as well as their uncomfortable relationship with public institutions. In so doing, he argues that private collections were a critical site for salvaging and interpreting the past in a post-revolutionary society, accelerating but also complicating the development of a shared national heritage.