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Maxime Lalanne
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The Complete Prints of Maxime Lalanne
With its appearance in 2003, Jeffrey Villet's catalogue raisonné has become the standard reference on Lalanne's etchings. Since 2010 Lalanne's 47 lithographs have been catalogued along with those etchings, together with extensive commentaries and notes on the states, and essays on his Lalanne's life and work. This catalogue is in its 4th edition, superseding earlier editions with dozens of new states and much additional information on editions and variations over time.
Pen Drawing - an Illustrated Treatise
Art is not satisfied with mere unrelated beauty of form or color. It requires that the result confess some sensible relation to the means by which it has been obtained; and in proportion as it does this, it may claim to possess that individual and distinctive charm which we call ""Style."" Pen drawing is most apt to lose its individuality when it begins to assume the characteristics of wash-drawing, such as an elaborate massing of grays, small light areas, and a general indirectness of method....for if there is one characteristic more than another which should distinguish pen methods it is Directness. The nature of the pen seems to mark as its peculiar function that of picking out the really vital features of a subject. Pen drawing has been aptly termed the ""shorthand of Art;"" the genius of the pen-point is essentially epitome. (From Chapter 1) Get Your Copy Today!
Etching & Etchers
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Promenades of An Impressionist
Reproduction of the original: Promenades of An Impressionist by James Huneker
Noir
Due to the technological advances of the nineteenth century, an abundance of black drawing media exploded onto the market. Charcoal, conte crayon, and fabricated black chalks and crayons; fixatives; various papers; and many lifting devices gave rise to an unprecedented amount of experimentation. Indeed, innovation became the rule, as artists developed their own unique—and often experimental—processes. The exploration of black media in drawing is inextricably bound up with the exploration of black in prints, and this volume presents an integrated study that rises above specialization in one over the other. Noir brings together such diverse artists as Francisco de Goya, Maxime Lalanne, Gustave Courbet, Odilon Redon, and Georges Seurat and explores their inventive works on paper. Sidelining labels like “conservative” or “avant-garde,” the essays in this book employ all the tools that art history and modern conservation have given us, inviting the reader to look more broadly at the artists’ methods and materials. This volume accompanies an eponymous exhibition on view at the J. Paul Getty Museum from February 9 to May 15, 2016.
