From Drawing to Painting: Poussin, Watteau, Fragonard, David, and Ingres

From Drawing to Painting: Poussin, Watteau, Fragonard, David, and Ingres

by Pierre Rosenberg
     
 

Pierre Rosenberg, the distinguished art historian and director of the Musée du Louvre, has long admired and studied both paintings and drawings. This dual interest may seem commonplace but is in fact highly unusual: specialists in the field of drawing rarely write about painting, and vice versa. From Drawing to Painting offers a unique perspective by

Overview

Pierre Rosenberg, the distinguished art historian and director of the Musée du Louvre, has long admired and studied both paintings and drawings. This dual interest may seem commonplace but is in fact highly unusual: specialists in the field of drawing rarely write about painting, and vice versa. From Drawing to Painting offers a unique perspective by interweaving biographical information about five renowned French artists—Nicolas Poussin, Antoine Watteau, Jean-Honoré Fragonard, Jacques-Louis David, and Jean-Auguste-Dominique Ingres—with a fascinating look at dozens of their drawings and the links that they have to their paintings. Presenting over 260 illustrations, this book explores drawing as a site of reflection, the space between the idea of a painted image and its realization on canvas.

How, why, and for whom did these artists draw? What value did they place on their drawings? How did their drawings get handed down to us? In what way do they enable us better to understand the artists' intentions, their creative processes, and to penetrate their worlds? Rosenberg determines that each artist approached drawing in a distinctive way, reflecting his individual training, work habits, and personal ambitions. For example, Poussin viewed his drawings simply as working documents, Watteau preferred his drawings to his paintings, and Fragonard made a lucrative business selling his graphic work. For David and Ingres, drawing had a considerable pedagogical function, whether in copying the great works of their predecessors or in sharpening their own techniques.

Originally delivered as a series of Mellon Lectures at the National Gallery of Art, Washington, D.C., From Drawing to Painting gives the reader an unprecedented view of the artistic process. This richly illustrated book will make an important and beautiful addition to any art library.

Editorial Reviews

Choice
[A] wonderful, charming and witty book. . . . The scholarship is personable and engaging, yet unobtrusive. A book for everyone, and a model of the unity, and expansiveness, of the art historical enterprise.
Master Drawings
Rosenberg poses in six chapters a series of basic questions on the nature, function, and connoisseurship of drawings. 'Basic' is, or course, a deceptive word, for the most basic questions can be the most challenging to answer. For general audiences, this book . . . is the equivalent of a tour with a patient guide through terrain that otherwise might be perceived as rarified or inhospitable. . . . For specialists, this volume of synthesis and reflection will prove a useful complement to the weighty compilations of fact and documentation in the catalogues raisonnes. . . . One can hope that younger scholars will be inspired to follow Rosenberg's example and give equal attention to drawing and painting as two sides of the same coin, as, of course, they are.
— Perrin Stein
Master Drawings - Perrin Stein
Rosenberg poses in six chapters a series of basic questions on the nature, function, and connoisseurship of drawings. 'Basic' is, or course, a deceptive word, for the most basic questions can be the most challenging to answer. For general audiences, this book . . . is the equivalent of a tour with a patient guide through terrain that otherwise might be perceived as rarified or inhospitable. . . . For specialists, this volume of synthesis and reflection will prove a useful complement to the weighty compilations of fact and documentation in the catalogues raisonnes. . . . One can hope that younger scholars will be inspired to follow Rosenberg's example and give equal attention to drawing and painting as two sides of the same coin, as, of course, they are.
From the Publisher
"Beginning with a general introduction to the background and style of each artist's work, Rosenberg discusses what the drawings meant to each artist, who collected them, how drawings fit into the practice of the creation of paintings, and the tricky practice of attributing drawings."Library Journal

"[A] wonderful, charming and witty book. . . . The scholarship is personable and engaging, yet unobtrusive. A book for everyone, and a model of the unity, and expansiveness, of the art historical enterprise."Choice

"Rosenberg poses in six chapters a series of basic questions on the nature, function, and connoisseurship of drawings. 'Basic' is, or course, a deceptive word, for the most basic questions can be the most challenging to answer. For general audiences, this book . . . is the equivalent of a tour with a patient guide through terrain that otherwise might be perceived as rarified or inhospitable. . . . For specialists, this volume of synthesis and reflection will prove a useful complement to the weighty compilations of fact and documentation in the catalogues raisonnes. . . . One can hope that younger scholars will be inspired to follow Rosenberg's example and give equal attention to drawing and painting as two sides of the same coin, as, of course, they are."—Perrin Stein, Master Drawings

Library Journal
Drawing on a series of lectures given at the National Gallery of Art in 1996, Rosenberg (director, Mus e du Louvre) here focuses on Poussin, Watteau, Fragonard, David, and Ingres, whom he considers the only artists between roughly 1630 and 1860 equally interested in drawing and painting. In doing so, the author shows that the drawings give us a better understanding of these artists' creative processes, as well as how, why, and for whom the artists drew. Beginning with a general introduction to the background and style of each artist's work, Rosenberg discusses what the drawings meant to each artist, who collected them, how drawing fit into the practice of the creation of paintings, and the tricky practice of attributing drawings. Generally, the author does a good job of relating all of this information, although for the most part, the focus is on drawing rather than painting. Most disappointing for a book so object-oriented in its discussion is the absence of color reproductions. Recommended for art libraries and academic libraries that support art history programs.--Sandra Rothenberg, Framingham State Coll., MA Copyright 2000 Cahners Business Information.

Product Details

ISBN-13:
9780691009186
Publisher:
Princeton University Press
Publication date:
05/08/2000
Series:
A. W. Mellon Lectures in the Fine Arts Series
Pages:
280
Product dimensions:
8.81(w) x 11.27(h) x 1.07(d)

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