PDF gratuit Drawing in Venice Titian to Canaletto, by Catherine Whistler
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Drawing in Venice Titian to Canaletto, by Catherine Whistler
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Détails sur le produit
Broché: 256 pages
Editeur : Ashmolean Museum (1 octobre 2015)
Langue : Anglais
ISBN-10: 1854442996
ISBN-13: 978-1854442994
Dimensions du produit:
21,8 x 1,9 x 28,1 cm
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I was living in London when this show was on and we took a day trip to Oxford to visit the Ashmolean and see it. WHAT A SHOW... sweeping and thoroughly encompassing, it's both a who's who of Venetian artistry and a tour de force of their draftsmanship. The Venetians, of course, are famous for their colors and not for their drawings (it's the Florentines we most often associate with consummate Italian drawings) but here we find a strong case for Venice and the Venetians as capable and earnest draftsmen in their own right.I collect coffee table art books and actually read them and therefore freely admit there are some you buy just for the pictures, some just for the scholarship, and some just because you saw the actual exhibit and desire a keepsake. This book, for me, is the rare "all three" - a fantastic keepsake from an outstanding drawing exhibition; a crisp, clear and beautifully laid out book filled with excellent reference photos; and clear, well-written, scholarly articles accompanying the chapters.PIck it up if you can find it. They'd sold out of it at the museum when we were there, and were actively trying to purchase back unsold copies from bookstores and universities across the UK, because the demand was so high they had a waiting list. Upon moving back to the US I found the book easily on Amazon.
finally, drawings have regained their intended status.
A beautiful selection of drawings. I have not yet had an opportunity to read the entire catalogue, but what I have read is wonderful scholarship presenting a selection of works which is an excellent 'on the shelf' reference work. Catherine Whistler has done an excellent job.
So glad I bought this. Images are beautiful and essays are thoughtful.
When we think of Italian Renaissance drawing, our thoughts usually go first to Florence, the city of “disegno,†to the great Florentine draughtsmen like Michelangelo and Leonardo, and especially to the early years of the cinquecento, when those two giants were in direct and open competition on various projects, the most important and public of which were their commissions for decorating the new Great Council Hall in the Palazzo Vecchio with paintings of the battles of Anghiari and Cascina, two of Florence’s more famous military victories (colorfully described by Jonathan Jones in “The Lost Battlesâ€). Venice, on the other hand, we tend to think of more as the province of pure painting, the city of Bellini, Titian, and Tintoretto, the great capitol of “colore.†Here our thinking is powerfully abetted by the terms of the constant comparison that animated the theoretical discussions of that time and was lent such impetus by Vasari’s influential contention in his “Life of Titian†that many Venetian artists who had never been to Rome or seen any "completely perfect works of art†had to conceal “under the charm of coloring a lack of knowledge of how to draw†(39), powerfully reinforced in the 18th century by Sir Joshua Reynolds. Of course, it has always been obvious that the great Venetian painters also drew, as painters inevitably must, from jotting down the "primo pensiero†to arranging and juxtaposing elements of their compositions—but palpable proof of that activity, in the form of documentation and collections of such drawings, has received relatively little attention from art historians. So it is very welcome that we have recently had two excellent exhibitions and their catalogues that fill in that gap and leave no question that the Venetians were just as adept and prolific draughtsmen as their Tuscan colleagues. From December 2014 to March 2015, the National Gallery of Art in Washington, D.C., mounted an exhibition entitled “The Poetry of Light,†presenting for the first time almost 150 Venetian drawings from their collection (about half) and some modern works inspired by the city (see the catalogue review on this website). That exhibition was shown at the Museo Correr in Venice, but, unfortunately, not at the Gallery in Washington. And the Ashmolean Museum at Oxford University has revealed itself as a significant repository of Venetian drawings and joined with the resources of Christ Church College, Oxford, and the Uffizi Gallery in Florence to present “Drawing in Venice: Titian to Canaletto†(October 2015 to January 2016), the catalogue of which is under review here.It is a very good catalogue and makes me wish I had been able to see the exhibition in person. First off, it is notable for the number of artists represented (45 individuals, not counting studio works), especially when one recalls that this is merely a selection of available works. Most of the major artists are represented—the core being Titian and Tintoretto—but there are many far less familiar figures like Andrea Meldolla (“Schiavoneâ€) and Giuseppe Porta (“Il Salviatoriâ€), many of whom were quite new to me. Secondly, the scope of the works represented is very broad, running from the merest sketch of an arm that may turn up later as part of a saint’s figure in an altarpiece, to highly finished and polished portraits or landscapes intended for direct sale to the collectors’ market. (Finished drawings made up an increasingly large part of this production, as interest grew in acquiring skill in drawing as a gentlemanly pursuit, and many of these sheets were bound into drawing manuals, which were especially attractive to collectors.) There are 104 catalogue drawings of the most various types, almost all of them reproduced full-page and with informative commentary on the facing page. In addition, there are seventy-four supportive figures that have been chosen with great attention to their illustrative value. Contrary to Vasari, from a collection like this one gets the impression that Venice in the 16th century, far from being a backwater of draughtsmanship, was actually a hotbed of drawing and related graphic pursuits. Curatorial data provided for the catalogue entries include medium and support, provenance, and literature. The selection is generally historically arranged, and Titian is a convincing starting point for his role in creating the tradition of a distinctive “Venetian†drawing in charcoal or chalk on blue paper, which was followed by his younger pupils and later artists and led to the characteristic Venetian tonal technique of black chalk layered with washes and white on blue paper, with white highlights giving volume and texture to the figures. As far as a terminus ad quem is concerned, Canaletto is an equally convincing point, for it was in his and Tiepolo’s generation that Venice founded its first Academy of Art (1750), and by that time the tradition of artistic formation through the family studio, accademia, or bottega had lost its relevance. The four scholarly contributions that precede the catalogue treat these developments in a general way: Catherine Whistler has written a broad introduction, there is an essay on the codevelopment of drawing and printmaking in Venice (which, not surprisingly, became a major publication center), an analysis of Vasari’s misinterpretations and preconceptions, and a consideration of General John Guise’s collection of Venetian drawings that formed the basis of the Christ Church holdings. Additional apparatus consists of several pages of artist biographies, a glossary of materials and techniques, a select bibliography, and an index of catalogue works. How the excellence, range and magnitude of Venetian drawing could have remained so generally under the radar for so long is an anomaly of art historiography, but this exhibition and its catalogue have gone far to compensate for that lack of attention. This is a quite unique publication, and I recommend it strongly to aficionados of the Venetian Renaissance with the suggestion that it be purchased soon; I suspect that it will increase greatly in price once out of print.
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January 27, 2015
Jarwa Safitri
