An extraordinary history of Netherlandish drawing, focused on the training and skill of artists during the long 17th century With a lively narrative thread and thematic chapters, this book offers an exceptional introduction to Dutch and Flemish drawing during the long 17th century. Victoria Sancho Lobis discusses the many roles of drawing in artistic training, its function in the production of works in other media, and its emergence as a medium in its own right. Beautifully illustrated with some 120 drawings by artists including Rembrandt van Rijn, Peter Paul Rubens, Hendrick Goltzius, Gerrit von Honthorst, and Jacob De Gheyn, this book surveys current methodologies of studying these works and features a brief history of Dutch papermaking and watermarks as well as a glossary. Paying careful attention to materials and techniques, and informed by recent conservation treatments, Lobis explains how to look at these drawings as records of experimentation and skill, true windows into the artist’s mind.
In the last decade of his life, Anthony van Dyck (1599-1641) undertook a printmaking project that changed the conventions of portraiture. In a series later named the Iconography, he portrayed artists alongside kings, courtiers, and diplomats--a radical departure from preexisting conventions. He also depicted his subjects in novel ways, focusing on their facial features often to the exclusion of symbolic costumes or props. In addition to illustrating approximately 60 works by Van Dyck and other artists from his era--particularly Rembrandt--this catalogue traces the artist's influence over hundreds of years. Showcasing both 17th century portraits in a variety of media and portrait prints by a wide range of artists spanning the 16th through the 20th centuries--including Albrecht Dürer, Hendrick Goltzius, Francisco de Goya, Edgar Degas, and Jim Dine--the book demonstrates the indelible mark that Van Dyck left on the genre.
Known as the master Dutch engraver of his time, as important for engraving as Rembrandt was for etching, Hendrick Goltzius was a pivotal printmaker of the late 16th century. His engaging subjects and highly versatile technique earned him praise and commissions throughout Europe. Drawing on collections throughout the state, including University of San Diego, LACMA, and the Achenbach Foundation for Graphic Arts as well as the Crocker, this exhibition brings together nearly 60 works for the first in-depth California exhibition on Goltzius in twenty years. At the core of this collaborative exhibition are Goltzius's Life of the Virgin and Passion of Christ series which show his chameleon-like virtuosity. Divided into five sections, the exhibition focuses as much on technique as on the subjects in the series and explores the influence and interpretation of earlier printmakers in Goltzius's work. Demonstrating the visual dialogue between Goltzius and precursors such as Albrecht Dürer, Passion and Virtuosity provides a deeper understanding of the history of engraving and visual culture in the late 16th century. The artist's own passion for his subjects and technique make the objects in the exhibition the most ambitious works of his career. This catalogue includes an illustrated checklist and essays by co-organizing curators William Breazeale, Crocker Art Museum, and Victoria Sancho Lobis, University of San Diego. Exhibition: The Crocker Art Museum, Sacramento, 20 October 2013-26 January 2014/ Robert and Karen Hoehn Family Galleries, University of San Diego, 21 February-25 May 2014.
For nearly 150 years, from Los Angeles to Portland, Oregon, patrons and scholars have mad the West Coast of the US fertile ground for the study of drawings. Reuniting the Masters: European Drawings from West Coast Collections focuses on the many drawings that, originating from the same studio in Europe, traveled over continents and centuries to different public collections in California and Oregon.
In the last decade of his life, Anthony van Dyck (1599-1641) undertook a printmaking project that changed the conventions of portraiture. In a series later named the Iconography, he portrayed artists alongside kings, courtiers, and diplomats--a radical departure from preexisting conventions. He also depicted his subjects in novel ways, focusing on their facial features often to the exclusion of symbolic costumes or props. In addition to illustrating approximately 60 works by Van Dyck and other artists from his era--particularly Rembrandt--this catalogue traces the artist's influence over hundreds of years. Showcasing both 17th century portraits in a variety of media and portrait prints by a wide range of artists spanning the 16th through the 20th centuries--including Albrecht Dürer, Hendrick Goltzius, Francisco de Goya, Edgar Degas, and Jim Dine--the book demonstrates the indelible mark that Van Dyck left on the genre.
An extraordinary history of Netherlandish drawing, focused on the training and skill of artists during the long 17th century With a lively narrative thread and thematic chapters, this book offers an exceptional introduction to Dutch and Flemish drawing during the long 17th century. Victoria Sancho Lobis discusses the many roles of drawing in artistic training, its function in the production of works in other media, and its emergence as a medium in its own right. Beautifully illustrated with some 120 drawings by artists including Rembrandt van Rijn, Peter Paul Rubens, Hendrick Goltzius, Gerrit von Honthorst, and Jacob De Gheyn, this book surveys current methodologies of studying these works and features a brief history of Dutch papermaking and watermarks as well as a glossary. Paying careful attention to materials and techniques, and informed by recent conservation treatments, Lobis explains how to look at these drawings as records of experimentation and skill, true windows into the artist’s mind.
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