The Renaissance in France: Drawings from the Ecole Des Beaux-Arts, Paris: Metropolitan Museum of Art, New York September 12-November 12, 1995

Arts & Photography

Fogg Art Museum

Brugerolles, Emmanuelle

Metropolitan Museum Of Art (new York, N.y.)

Guillet, David

History & Criticism

Univ of Washington Pr

Painting in 18th-century France was centered on the Académie Royale de Peinture et de Sculpture in Paris, where the drawing of the male human figure was at the core of the curriculum. Only after mastering the copying of drawings and engravings, and then casts of antique sculptures, would the student be allowed to progress to drawing the nude figure in the life class. The drawings produced there were so associated with the Academy that they came to be known as ‘académies’.Accompanying a groundbreaking exhibition at the Wallace Collection, this publication includes remarkable drawings by Rigaud, Boucher, Nattier, Pierre, Carle van Loo, Gros and Jean-Baptiste Isabey. Variety and beauty are omnipresent. The works show figures – sometimes single, sometimes two together – in an enormous variety of poses and in various degrees of light and shade. The study of physiognomic expression was also taught at the Academy, and the facial expressions of the figures always complement the poses they adopt, whether they show serenity, exertion, pleasure or anger.The catalogue of over 40 masterpieces from the Academy collection – now belonging to the École des Beaux-arts – is introduced with 3 essays by distinguished scholars. Emmanuelle Brugerolles and Camille Debrebant write about the teaching methods at the Academy, to which no female artists were admitted and all models were male. (This practice in itself went on to create problems for artists, who lacking the necessary training to portray the female form, were compelled to search out models, not always in the most respectable settings.) They consider the complete collection of 600 drawings made over a period of some 150 years. Exceptional in its size and consistency, the collection remains an extraordinary testimony to teaching methods and artistic doctrines that, although they are no longer current, still offer food for thought.Georges Brunel’s essay ‘Art and Manner’, highlights some features of the artistic doctrine, which, while remaining stable for a century and a half, from 1650 to 1800, was nevertheless modified over time, each period reflecting its own sense of form and artistic expectations. The foundation of academic teaching in the imitation of nature, the quest for beauty, and the study of the Antique did not change. But these notions can all be interpreted in many different ways. Is nature simply what is there to be seen, does beauty lie in the faithful reproduction of what is seen, does theAntique constitute the ultimate artistic reference point and touchstone of artistic merit and, ultimately, can there be art without ‘manner’?

The Male Nude: Eighteenth-Century Drawings from the Paris Academy (Wallace Collection)

BRUNEL, Georges

Debrabant, Camille

Drawing

Paul Holberton Publishing

<p>Text: English (translation) Original Language: French</p>

The Renaissance in France: Drawings from the Ecole Des Beaux-Arts, Paris

Ecole nationale supérieure des beaux-arts (France)

Wm Hays Fogg Art Museum

<p>This publication explores 400 years of portrait drawings from live models. Forty-four portraits have been chosen from the collection of Paris' École des Beaux-Arts based on criteria such as the social class and profession of the model, male and female gestures, caricature and frontal gaze. The goal of this project is to explore the notion of drawn portraiture and to provide alternative readings of this genre of art-making within a contemporary context. The selection of works is extensive, ranging from never-before-exhibited drawings by Jean-Auguste-Dominique Ingres, Jacques-Louis David and Charles Garnier, to the work of modern and contemporary masters Henri Matisse and Georg Baselitz, to portraits by recent graduates of the École des Beaux-Arts.</p>

Portraits from the École des Beaux-Arts, Paris (Drawing Papers)

Littman, Brett

The Drawing Center

This is the richly-illustrated catalog from the museum show Poussin, Claude and Their World: Seventeenth Century Drawings from the Ecole des Beaux-Arts. Foreword by the Director of the École des Beaux-Arts, Henry-Claude Cousseau, and Samuel Sachs II, Director of The Frick Collection. Essays by artists who have taught at the school, Vincent Bioulès and Pierre Buraglio, offer a special perspective on the pleasure to be derived from such works in the classroom. Catalogue entries by Emmanuelle Brugerolles and David Guillet are accompanied by an index of artists, an index of museums and collections, and other materials.

Poussin Claude and Their World

ENSBA

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