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Eaux-fortes et rêves creux : sonnets excentriques et poèmes étranges
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Year: 1873 Publisher: Paris : L. Willem,

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Etching, French.


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Jacques Callot : Nancy 1592-1635
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ISBN: 0950544116 Year: 1992 Volume: 74 Publisher: London Christopher Mendez

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Jacques Callot : 1592-1635.
Year: 1992 Publisher: Nancy : Société d'archéologie lorraine et du Musée historique lorrain,

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Ink and light : the influence of Claude Lorrain's etchings on England
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ISBN: 0773589317 Year: 2013 Publisher: Montreal [Quebec] : Beaconsfield, Quebec : Published for the Macdonald Stewart Art Centre by McGill-Queen's University Press, Canadian Electronic Library,

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Estampes françaises du XVIIe siècle : une donation au Musée des beaux-arts de Nancy.
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ISBN: 9782735506613 Year: 2008 Publisher: Paris Ed. du Comité des travaux historiques et scientifiques,


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Artists and amateurs : etching in 18th-century France
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ISBN: 9780300197006 9781588394989 0300197004 Year: 2013 Publisher: New Haven, Conn. Yale University Press

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Over the course of the 18th century a great number of artists, ranging from established painters and sculptors to amateurs, experimented with etching, an accessible form of printmaking akin to drawing. In a period when artists strained to navigate the highly regulated Académie Royale and the increasingly discordant public spheres of the marketplace and the Salon, etching afforded them stylistic freedom and allowed them to produce exquisite works of art in a spirit of collaboration and experimentation. Featuring works by Watteau, Boucher, Fragonard, Hubert Robert and many others, Artists and Amateurs embarks on a fresh exploration of how etching flourished in ancien régime France, shedding new light on artistic practice and patronage at that time. 0Exhibition: The Metropolitan Museum of Art, NYC, USA (01.10.2013-04.01.2014). 0.

De Pissarro à Picasso : l'eau-forte en couleurs en France : oeuvres des collections de la Bibliothèque nationale et du Zimmerli Art Museum
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ISBN: 2080135384 2080136062 9782080135384 Year: 1992 Publisher: [New Brunswick, N.J.] : Paris : Zimmerli Art Museum ; Flammarion,

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Color etching flowered in France in the years 1885 to 1910, breaking the centuries-long tradition of artistic printmaking as an exclusively black and white medium. Its development was encouraged primarily by a renewed interest in eighteenth-century printmaking techniques and by the discovery of Japanese woodblock prints whose methods of composition and juxtaposition of unmixed areas of color demonstrated the dramatic and highly decorative effects that could be achieved by the superimposition of colored inked plates on a single sheet of paper. Although color etching began as an art form restricted to a small circle of artists working in Paris who were attracted to its intimacy and technical demands, its great aesthetic potential spawned a movement of considerable consequence by the turn of the century, especially for the circle of young, avant-garde artists including Jacques Villon, Joaquin Sunyer, Francis Jourdain, and Theophile Steinlen, who gathered around the master printmaker Eugene Delatre in Montmartre during the 1890s. By depicting life in the streets, cabarets and cafes of Paris, these artists fully exploited the creative possibilities of the color etching technique, producing subtly colored prints that were charged with atmosphere. Through a selection of works drawn from the collections in the Bibliotheque Nationale in Paris and the Zimmerli Art Museum at Rutgers University. Phillip Dennis Cate and Marianne Grivel explore the origin and expansion of color etching in France, tracing its development within the nineteenth-century renaissance of printmaking in France and analyze its aesthetic evolution in relation to major artistic movements such as Impressionism and Symbolism. Extensive artists' biographies and a complete list of the works of art illustrated make this an essential study for collectors, students, and for all those interested in late nineteenth-century French art.


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Camille Pissarro : Impressions gravées : musée Tavet-Delacour, 19 mars-11 juin 2017

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"Camille Pissarro et Edgar Degas ont inventé l'estampe impressionniste. C'est à l'aube des années 1860 que Pissarro grave ses premières eaux-fortes. En 1873, à l'initiative du docteur Gachet, il renoue avec la gravure en compagnie de Guillaumin et de Cézanne. Puis, à partir de 1879, Degas l'initie aux encrages en couleurs. Dès lors, par la multiplication des états d'un même motif, Pissarro va faire de la gravure un outil d'expérimentation. Cette possibilité constitue une découverte qui le prépare alors à ses célèbres séries urbaines et portuaires. Il nomme ses gravures des "Impressions gravées". Avec son oeuvre gravé, Pissarro prend place dans l'histoire de l'art aux côtés des plus grands peintres-graveurs de tous les temps, Rembrandt, Goya et plus tard Picasso"--Page 4 of cover.

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