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Venice and Drawing, C. 1500-1800
An impressive overview of drawing in Venice, from the time of Titian and Tintoretto to that of Canaletto and Tiepolo From the time of Titian and Tintoretto to that of Canaletto and Tiepolo, drawing was an important part of artistic practice and was highly valued in Venice. This exciting new study overturns traditional views on the significance of drawing in Venice, as an art and an act, from the Renaissance to the age of the Grand Tour. Gathering together the separate strands of theory, artistic practice, and collecting, Catherine Whistler highlights the interactions and tensions between a developing literary discourse and the practices of making and collecting graphic art. Her analysis challenges the conventional definition of Venetian art purely in terms of color, demonstrating that 16th-century Venetian artists and writers had a highly developed sense of the role and importance of disegno and drawing in art. The book's generous illustrations support these striking arguments, as well as conveying the great variety, interest, and beauty of the drawings themselves.
Raphael
The selection of drawings demonstrates how Raphael created a specific mode of visual invention and persuasive communication through drawing. He used drawing both as conceptual art (including brainstorming sheets) and as a practice based on attentive observation (such as drawing from the posed model). Yet Raphael's drawings also reveal how the process of drawing in itself, with its gestural rhythms and spontaneity, can be a form of thought, generating new ideas. The Oxford exhibition will present drawings that span Raphael's entire career, encompassing many of his major projects and exploring his visual language from inventive ideas to full compositions. The extraordinary range of drawings by Raphael in the Ashmolean and the Albertina, enhanced by appropriate loans, will enable this exhibition to cast new light on this familiar artist, transforming our understanding of Raphael's art.
Raffaello Sanzio da Urbino in Art Collections and in the History of Collecting
Raphael’s artworks, paintings, altarpieces, drawings, tapestries, cartoons, prints, ceramics and all other artifacts derived from his works, including copies and forgeries, have been the object of an often-frantic search from his death in 1520 onwards. France, Spain, Germany, England, and Italy were the main destinations for such artworks between the 16th and the 18th centuries, while the market spread overseas from the 19th century onwards. This book is the first full exploration of this phenomenon and of the mechanisms of transmission of Raphael’s artifax through inheritance, sales, swaps and shady transactions. It includes essays in English, French and Italian by some of the most knowledgeable scholars on Raphael, museum curators and experts in the history of collecting, and is a landmark in scholarship on Raphael and art collecting.
Graceful and True
Artistic activity was high during the Florentine Late Renaissance as drawings came again to be revered on their own.
Rising Up from Indian Country
“Sets the record straight about the War of 1812’s Battle of Fort Dearborn and its significance to early Chicago’s evolution . . . informative, ambitious” (Publishers Weekly). In August 1812, Capt. Nathan Heald began the evacuation of ninety-four people from the isolated outpost of Fort Dearborn. After traveling only a mile and a half, they were attacked by five hundred Potawatomi warriors, who killed fifty-two members of Heald’s party and burned Fort Dearborn before returning to their villages. In the first book devoted entirely to this crucial period, noted historian Ann Durkin Keating richly recounts the Battle of Fort Dearborn while situating it within the nearly four decades be...
Michelangelo and Raphael Drawings
Raphael and Michelangelo were both superb draughtsmen, whose drawings were sought after by other artists and by collectors in their own time. Trained in the Quattrocento workshop tradition of skilful control in drawing, and inspired by the innovations of Leonardo da Vinci, Michelangelo and Raphael each brought technical mastery to new heights and in so doing transformed the status of drawing itself. In this handbook the technique and purpose of a variety of drawings by both artists are scrutinised in an attempt to examine the attitude to drawing and the working methods of these temperamentally opposed masters. The drawings selected are all in the Ashmolean Museum, Oxford, which has one of the finest groups of Raphael drawings in the world and an important collection of drawings by Michelangelo.
Old Master Drawings from the Ashmolean Museum
The Ashmolean possesses one of the great international collections of drawings: a conspectus of European drawing at its most distinguished and varied. This catalog includes works by artists working in Italy, Spain, and Northern Europe, from the time of the Renaissance to the end of the eighteenth century. There are five drawings by Michelangelo, and five by Raphael, including his youthful self-portrait. Leonardo is represented by two small drawings of unicorns, and there are major studies by Perugino, Carpaccio, and Titian. An imposing group by Baroque artists is followed by fine examples of the work of Tiepolo, Canaletto, Guardi, Piazzetta, and Piranesi. From north of the Alps there are drawings by Rubens, Rembrandt, and Durer, and probably the finest study ever made by Grunewald. The art of France is represented by Claude Lorrain, Watteau, Fragonard, and Ingres, and that of Britain by Holbein, Lely, Gainsborough, John Robert Cozens, and Rowlandson.
Baroque & Later Paintings in the Ashmolean Museum
Masterpieces by Nicolas Poussin, Claude Lorrain, Domenichino, Giambattista Tiepolo and Francesco Guardi feature in this detailed catalogue of 'Baroque and later paintings in the Ashmolean Museum'. The collection of Italian, French and Spanish works from about 1600 onwards was mainly formed in the late nineteenth and twentieth centuries, reflecting the interests of a University museum and its benefactors. Changing perceptions of art of the Baroque age can be traced in the histories of opinions and ownership that this catalogue provides.
Drawings by the Carracci from British Collections
The rich holdings of drawings by the Carracci in British collections can only be partially represented in this book; nevertheless, the variety of types of drawings and the high quality of the sheets here presented are striking. Over thirty of the drawing
