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Fifteenth- to Eighteenth-century European Drawings


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"Early European art was a consuming interest of both Robert Lehman and his father, Philip Lehman, an interest reflected in the remarkable number and quality of drawings they owned from the fifteenth and early sixteenth centuries. In addition to an important group of early German drawings, the collection includes a "Saint Paul" from a series associated with Jan van Eyck and the famous "Scupstoel" from the circle of Rogier van der Weyden, the only design for a decorative sculpture to survive from the fifteenth century. The great artists of the seventeenth century, Peter Paul Rubens, Jacob Jordaens, Claude Lorrain, and Rembrandt among them, are also represented, Rembrandt by seven drawings, including the large study of Leonardo's "Last Supper" that would stay in his mind all through his career. Drawings by Antoine Watteau, Jean-Honoré Fragonard, Gabriel de Saint-Aubin, Thomas Gainsborough, Paul Sandby, and George Romney are among the many from eighteenth-century France and England. The volume discusses all 153 drawings at length, placing each in its art historical setting and complementing the discussion with comparative illustrations of related works." This e-book on the MetPublications website is also accompanied by links to related works and under the "Additional resources"tab are links to Met works of art and Heilbrunn Timeline of Art History essays and timelines (viewed May 1, 2014).




Dürer and Beyond


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"This exhibition is the first to offer an extensive overview of the Museum's holdings of early Central European drawings, many of which were acquired in the last two decades. An emphasis on works by later sixteenth- and seventeenth-century artists is balanced by a selection of German drawings from the fifteenth and earlier sixteenth century, of which some of the most exceptional ones--including works by Albrecht Deurer--entered the Museum with The Robert Lehman Collection in 1975."--Publisher's website.







Catalogue


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Catalogue of the Library


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Master Drawings from the Smith College Museum of Art


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This newest volume in Hudson Hills Press's acclaimed series about leading collections of master drawings presents sixty-eight great sheets, all reproduced in full-color, including many versos, from one of the finest college museums in America.




Grand Design


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Pieter Coecke van Aelst (1502 – 1550) was renowned throughout Renaissance Europe as a draftsman, painter, and publisher of architectural treatises. The magnificent tapestries he designed were acquired by the wealthiest clients of the day, up to and including rulers such as Emperor Charles V, King Francis I of France, King Henry VIII of England, and Grand Duke Cosimo I de’ Medici of Tuscany. At the same time, Coecke was remarkable not only for the complexity and unparalleled quality of his tapestries, but also for his fluency in various media: this lavishly illustrated volume examines the full range of his work, from tapestry and stained-glass window designs to panel paintings, prints, drawings, and architectural treatises. Though only forty-eight when he died, Coecke was one of the greatest Netherlandish artists of the sixteenth century. His paintings and drawings, initially wrought in the style of the Antwerp Mannerists, evolved through his enthusiastic response to Italian Renaissance design, and influenced generations of artists in his wake. This comprehensive study explores Coecke’s stylistic development, as well as his substantial contribution to the body of great Renaissance art in Flanders. Featuring twenty monumental tapestries, along with many of their cartoons and preparatory sketches, plus seven paintings, additional drawings, and printed matter—many of them newly photographed for this volume—Grand Design provides a thorough reappraisal of Coecke’s work, amply justifying the high regard in which Coecke’s work was held and its wide dissemination long after his death.




Reactions to the Master


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The immense effect that Michelangelo had on many artists working in the sixteenth century is widely acknowledged by historians of Italian Renaissance art. Yet until recently greater stress has been placed on the individuality of these artists' styles and interpretation rather than on the elucidation of their debts to others. There has been little direct focus on the ways in which later sixteenth-century artists actually confronted Michelangelo, or how those areas or aspects of their artistic production that are most closely related to his reveal their attitudes and responses to Michelangelo's work. Reactions to the Master presents the first coherent study of the influence exerted by Michelangelo's work in painting and sculpture on artists of the late-Renaissance period including Alessandro Allori, Agnolo Bronzino, Battista Franco, Francesco Parmigianino, Jacopo Pontormo, Francesco Salviati, Raphael, Giorgio Vasari, Marcello Venusti, and Alessandro Vittoria. The essays focus on the direct relations, such as copies and borrowings, previously underrated by art historians, but which here form significant keys to understanding the aesthetic attitudes and broader issues of theory advanced at the time.




Bulletin (1901-195 )


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