Edgar Degas Paintings In Close Up Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Edgar Degas Paintings In Close Up book. This book definitely worth reading, it is an incredibly well-written.
Edgar Degas: Paintings in Close Up by Annabelle Thornhill Pdf
Edgar Degas seems never to have reconciled himself to the label of "Impressionist," preferring to call himself a "Realist" or "Independent." Nevertheless, he was one of the group’s founders, an organizer of its exhibitions, and one of its most important core members. Like the Impressionists, he sought to capture fleeting moments in the flow of modern life, yet he showed little interest in painting plain air landscapes, favoring scenes in theaters and cafes illuminated by artificial light, which he used to clarify the contours of his figures, adhering to his Academic training. He is especially identified with the subject of dance; more than half of his works depict dancers. He also was a superb draftsman, and particularly masterful in depicting movement, as can be seen in his interpretations of dancers and female nudes. His portraits are notable for their psychological complexity and for their portrayal of human isolation.
Edgar Degas: Drawings in Close Up by Annabelle Thornhill Pdf
Like the Impressionists, Degas sought to capture fleeting moments in the flow of modern life, yet he showed little interest in painting plain air landscapes, favoring scenes in theaters and cafes illuminated by artificial light, which he used to clarify the contours of his figures, adhering to his Academic training. He is especially identified with the subject of dance; more than half of his works depict dancers. He also was a superb draftsman, and particularly masterful in depicting movement, as can be seen in his interpretations of dancers and female nudes. His portraits are notable for their psychological complexity and for their portrayal of human isolation.
The purpose of this volume is to introduce the reader to the pleasure of looking at master drawings. Through forty-five spectacular works of art, each shown in full and with an enlarged detail, the book simulates the experience of looking at a drawing through a magnifying glass: we can see the techniques and materials used and get close to the artist's creativity. They are roughly ordered by date and were chosen for inclusion because, in addition to yielding beautiful details, they encompass a wide variety of media and techniques. Accompanying short texts highlight particular aspects of each work; italicized technical terms are explained in an accessible and informative glossary at the back. Works by some of the greatest masters of the craft--Leonardo da Vinci, Dürer, Raphael, Rembrandt, Ingres, Goya, Seurat, and Van Gogh--are included. The reader will gain insights into why artists made drawings, how they used the media available to them--including red chalk, watercolor, pen and ink, and pastel--and their techniques, such as hatching, stumping, squaring, and heightening. This beautiful and unpretentious book will have a wide appeal and will be especially invaluable for art students, practicing artists, and those who study art and art history.
Creating Art for All Ages by Frances Flicker,Jacqueline G. Van Schooneveld,Jeanne Richins Pdf
This is the third book in the series Creating Art for All Ages. The series takes students on an interdisciplinary cross content journey. Each book provides experiences in language arts, social studies, math and art as the students investigate ancient and modern civilizations. Industry and Imagination in Ancient and Modern Civilizations is the third book of the series and examines the generations of the Industrial Revolution, society during WWI and WWII, Modern and Contemporary times. During the era of the Industrial Revolution, the role of the artist transformed as the patronage changed and advancements in photography were able to portray likenesses. The artist sought new avenues by using art as an expressive tool. As time progressed, artistic expression navigated the art into innovative, imaginative and unique styles. Art became whatever the artist intended it to be.
Malcolm R. Daniel,Edgar Degas,Bibliothèque nationale de France
Author : Malcolm R. Daniel,Edgar Degas,Bibliothèque nationale de France Publisher : Metropolitan Museum of Art Page : 145 pages File Size : 54,7 Mb Release : 1998 Category : Photography ISBN : 9780870998836
Edgar Degas, Photographer by Malcolm R. Daniel,Edgar Degas,Bibliothèque nationale de France Pdf
Degas's major surviving photographs, little known even among devotees of the artist's paintings and pastels, are analyzed and reproduced for the first time in this volume, which accompanies an exhibition at The Metropolitan Muscum of Art, The J. Paul Getty Museum, and the Bibliotheque Nationale de France.
Edgar Degas Masterpieces of Art by Michael Robinson Pdf
French artist Edgar Degas was famous for his drawing, painting, sculpture and printmaking. Although a member of the Impressionists, with Monet, Pissaro and Renoir his work focused on indoor subjects, particularly his acutely observed pieces on ballerinas. His masterful studies of real life resonate still today and he remains one of the most popular painters in the world. This beautiful new book showcases all of his major works (including Ballet Rehearsal, The Star and The Ballet Class), with detailed captions, and a long essay on life, art and influences.
Richard R. Brettell,Paul Hayes Tucker,Natalie Henderson Lee,Metropolitan Museum of Art (New York, N.Y.)
Author : Richard R. Brettell,Paul Hayes Tucker,Natalie Henderson Lee,Metropolitan Museum of Art (New York, N.Y.) Publisher : Metropolitan Museum of Art Page : 482 pages File Size : 50,7 Mb Release : 2009 Category : Painting, Modern ISBN : 9781588393494
Nineteenth- and Twentieth-century Paintings by Richard R. Brettell,Paul Hayes Tucker,Natalie Henderson Lee,Metropolitan Museum of Art (New York, N.Y.) Pdf
Robert Lehman (1891-1969), one of the foremost art collectors of his generation, embraced the work of both traditional and modern masters. This volume catalogues 130 nineteenth- and twentieth-century paintings that are now part of the Robert Lehman Collection at The Metropolitan Museum of Art. The majority of the works are by artists based in France, but there are also examples from the United States, Latin America, and India, reflecting Lehman's global interests. The catalogue opens with outstanding paintings by Ingres, Théodore Rousseau, and Corot, among other early nineteenth-century artists. They are joined by an exemplary selection of Impressionist and Post-Impressionist works by Degas, Renoir, Sisley, Pissarro, Seurat, Signac, Van Gogh, Cézanne, and Gauguin. Twentieth-century masters represented here include Bonnard, Matisse, Rouault, Dalí, and Balthus. There are also newly researched modern works by Vicente do Rego Monteiro, Kees van Dongen, Dietz Edzard, and D.G. Kulkarni (dizi). Robert Lehman's cultivated taste for nineteenth-century French academic practitioners and his intuitive eye for emerging young artists of his own time are documented and discussed. Three hundred comparative illustrations supplement the catalogue entries, as do extensively researched provenance information, exhibition histories, and references. The volume also includes a bibliography and indexes.
The New Art History and the Impressionist canon seem to have successfully claimed Edgar Degas as a misogynist, rabid nationalist and misanthrope whose art was both masterly and experimental. By analysing Degas’s approach to space and his self-fashioning attitude towards identity within the ambiguities of the political and artistic culture of nineteenth-century France, this book questions the characterisation of Degas as a right-wing Frenchman and artist, and will change the way in which Degas is thought about today.
Degas was closest to Renoir in the impressionist’s circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter’s memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions depicting racecourses, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject, Mademoiselle Fiocre dans le ballet de la Source (Mademoiselle Fiocre in the Ballet ‘The Spring’) (New York, Brooklyn Museum). Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas’ first painting devoted solely to the ballet was Le Foyer de la danse à l’Opéra de la rue Le Peletier (The Dancing Anteroom at the Opera on Rue Le Peletier) (Paris, Musée d’Orsay). In a carefully constructed composition, with groups of figures balancing one another to the left and the right, each ballet dancer is involved in her own activity, each one is moving in a separate manner from the others. Extended observation and an immense number of sketches were essential to executing such a task. This is why Degas moved from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days.
Edgar Degas, 1834-1917 by Bernd Growe,Edgar Degas Pdf
An introduction to the life and work of nineteenth-century French artist Edgar Degas, discussing his cultural and historical importance, and including a chronology and over one hundred color illustrations with explanatory captions.
Alongside [Vincent] van Gogh, [Paul] Cézanne, and [Paul] Gauguin, Edgar Degas ... is considered one of the major pioneers of modern art. In light of his popular impressionistic paintings, it is easy to lose sight of the conplexity of Degas's oeuvre. All his life, the artist experimented with printing techniques and drawing as well as photography and sculpture. In his late work the delicate, detailed painting of his mature period between the eighteen-seventies and early eighteen-eighties yields to a unique pleasure in technical experimentation and an obsessive creativity, which increasingly liberated the means of depiction from its reproductive function. As if in a dreamlike state that unites the present and past, things seen and remembered, he produced nude studies, ballet scenes, landscapes and portraits. ..."--Book jacket.
Author : Robert L. Herbert Publisher : Yale University Press Page : 348 pages File Size : 47,6 Mb Release : 1988-01-01 Category : Art ISBN : 9780300050837
Art Expressions visits some of the world's greatest artists and their paintings. The book includes a brief two-page biographical review of the artist and one or more of their famous art. Each painting is accompanied by a one-page explanation and devotional. Over 450 pages.
Caravaggio: Paintings in Close Up by Annabelle Thornhill Pdf
Michelangelo Merisi da Caravaggio (September 1571 – 18 July 1610) was an Italian artist active in Rome, Naples, Malta, and Sicily between 1593 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on the Baroque school of painting. Caravaggio's novelty was a radical naturalism that combined close physical observation with a dramatic, even theatrical, use of chiaroscuro. This came to be known as Tenebrism, the shift from light to dark with little intermediate value. Famous while he lived, Caravaggio was forgotten almost immediately after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered. It can be seen directly or indirectly in the work of Rubens, Jusepe de Ribera, Bernini, and Rembrandt, and artists in the following generation heavily under his influence were called the "Caravaggisti" or "Caravagesques", as well as Tenebrists or "Tenebrosi" ("shadowists"). Andre Berne-Joffroy, Paul Valéry's secretary, said of him: "What begins in the work of Caravaggio is, quite simply, modern painting."
