Richly illustrated and engagingly written, this publication examines how the pioneer of French classicism brought dance to bear on every aspect of his artistic production. Scenes of tripping maenads and skipping maidens, Nicolas Poussin’s dancing pictures, painted in the 1620s and 1630s, helped him formulate a new style. This style would make him the model for three centuries of artists in the French classical tradition, from Jacques-Louis David and Edgar Degas to Paul Cézanne and Pablo Picasso. Poussin and the Dance, the first published study devoted to this theme, situates the artist in seventeenth-century Rome, a city rich with the ancient sculptures and Renaissance paintings that informed his dancing pictures. Tracing the motif of dance through his early Roman production, this book examines how these works helped their maker confront the problem of arresting motion, explore the expressive potential of the body, and devise new methods of composition. The essays investigate how dance informed nearly every aspect of Poussin's artistic production, notably through his use of wax figurines to choreograph the compositions he drew and painted. This publication also considers Poussin’s dancing pictures within a broader context of seventeenth-century European culture, collecting, and patronage. This volume is published to accompany an exhibition on view at the National Gallery, London from October 9, 2021, to January 2, 2022 and at the J. Paul Getty Museum at the Getty Center from February 15 to May 8, 2022.
LONGLISTED FOR THE HWA DEBUT CROWN 2018 'Brilliantly paced, moving, thoughtful and sharp. Loved it.' Renée Knight, author of Disclaimer 'Bitter, yes, but also sweet - and moving, and searching, and quietly devastating: a novel to detonate the heart' A.J. Finn, author of The Woman in the Window 'Wonderful . . . It's a very painful story but told with a kind of lightness and grace. Francesca Jakobi completely inhabits Gilda, in all her pain and obsession, all her self-deception and self-sabotage. An absolutely astonishing first novel' Michael Frayn, author of Spies 'Bitter is stormingly good, deliciously addictive, as gripping as Zoe Heller's Notes on A Scandal. It's got to be the beach read of 2018!' Peter Bradshaw, Guardian Film Critic 'Gloriously sinister and yet heartbreaking. Brilliant' Nicci Cloke, author of Close Your Eyes It's 1969, and while the summer of love lingers in London, Gilda is consumed by the mistakes of her past. She walked out on her beloved son Reuben when he was just a boy and fears he'll never forgive her. When Reuben marries a petite blonde gentile, Gilda takes it as the ultimate rejection. Her cold, distant son seems transformed by love - a love she's craved his entire adult life. What does his new wife have that she doesn't? And how far will she go to find out? It's an obsession that will bring shocking truths about the past to light . . . Bitter is a beautiful and devastating novel about the decisions that define our lives, the fragility of love and the bond between mother and son.
Richly illustrated and engagingly written, this publication examines how the pioneer of French classicism brought dance to bear on every aspect of his artistic production. Scenes of tripping maenads and skipping maidens, Nicolas Poussin’s dancing pictures, painted in the 1620s and 1630s, helped him formulate a new style. This style would make him the model for three centuries of artists in the French classical tradition, from Jacques-Louis David and Edgar Degas to Paul Cézanne and Pablo Picasso. Poussin and the Dance, the first published study devoted to this theme, situates the artist in seventeenth-century Rome, a city rich with the ancient sculptures and Renaissance paintings that informed his dancing pictures. Tracing the motif of dance through his early Roman production, this book examines how these works helped their maker confront the problem of arresting motion, explore the expressive potential of the body, and devise new methods of composition. The essays investigate how dance informed nearly every aspect of Poussin's artistic production, notably through his use of wax figurines to choreograph the compositions he drew and painted. This publication also considers Poussin’s dancing pictures within a broader context of seventeenth-century European culture, collecting, and patronage. This volume is published to accompany an exhibition on view at the National Gallery, London from October 9, 2021, to January 2, 2022 and at the J. Paul Getty Museum at the Getty Center from February 15 to May 8, 2022.
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