This book presents more than one hundred nineteenth-century French and English paintings, drawings, and oil sketches from the collection of noted New York collector Karen B. Cohen. Held privately for many years, most of the works are little known, and many have never been published before despite the renown of their artists- among them such masters as Courbet, Constable, Delacroix, Géricault, Corot, and Rousseau. The authors provide commentary on each work and place it in the context of the artist's development and contemporary artistic trends. This book accompanies an exhibition at The Metropolitan Museum of Art that runs from 16 October 2000 to 21 January 2001.

Romanticism & the School of Nature: Nineteenth-Century European Drawings and Oil Sketches From the Karen B. Cohen Collection

Arts & Photography

Ives, Colta

Collections, Catalogs & Exhibitions

Metropolitan Museum of Art

Daumier emerges as an artist of exceptional genius and modernity in this volume.

Daumier Drawings

Sonnabend, Martin

Stuffmann, Margaret

Drawing

Goya in the Metropolitan Museum of Art

Introduction to the Mets extensive holdings of Goya's prints, paintings, and drawings.

This summary catalogue provides comprehensive and detailed information about the contents of Edgar Degas's private collection.

The Private Collection of Edgar Degas A Summary Catalogue

Stein, Susan Alyson

Paul Gauguin (1848-1903) was one of the most famous pioneers of Post-Impressionism. He had been a Parisian stockbroker, devoted family man, art collector, and Sunday painter for over a decade, when he set sail for the South Seas in 1891. Finding inspiration in the arts of ancient and primitive cultures, he began to create curiously abstract, vibrantly colored paintings and crude, carved reliefs. Few of these works were appreciated during Gauguin's lifetime, but their strange, innovative brilliance gradually became recognized and profoundly influenced twentieth-century art. This volume presents paintings, sculptures, drawings, and prints by Gauguin that attest to his genius, all works drawn from public and private collections in New York, including more than fifty from The Metropolitan Museum of Art. The text includes a consideration of Gauguin's exotic voyages and their reflections in his art; a history of the reception and appreciation of Gauguin's work on this shore of the Atlantic; and revelations arising from the recent examination of paintings in the Metropolitan Museum's collection. Each of Gauguin's works from these New York collections is in color with accompanying commentary.

The Lure of the Exotic: Gauguin in New York Collections

Hale, Charlotte

Vincent van Gogh (18531890) believed that drawing was the root of everything.” A self-taught artist, he succeeded, between 1881 and 1890, in developing an inimitable graphic style. This book traces the artist’s successive triumphs as a draftsman, first in the Netherlands and later in France, highlighting the diversity of his technical invention and the striking continuity of his vision. Given the pivotal role drawings played in Van Gogh’s artistic conception and the rich dialectic they enjoyed with his oil paintings, a small selection of related canvases by the artist is also featured.This beautiful book presents approximately 120 works in charcoal, ink, graphite, watercolor, and diluted oils. The authors explore enduring questions that surround Van Gogh’s drawings, including their manufacture, artistic precedents, and contribution to Modernism. In addition, the text discusses the significance of the artist’s drawing practice to his development as a painter. The essays and entries feature the most current research on Van Gogh’s drawings and provide fresh interpretations of the motivating influences that shaped the artist’s contributions to the history of drawing.

Vincent Van Gogh: The Drawings (Metropolitan Museum of Art Series)

Sjraar Van Heugten

Susan Alyson Stein

Marije Vellekoop

Individual Artists

The Metropolitan Museum has in its collection an exceptional body of art in a range of media by the late-nineteenth-century French artist Henri de Toulouse-Lautrec. In exhibiting a large portion of these works, the Metropolitan once again invites the visitor—and the reader of this accompanying catalogue—to examine the product of a single fertile, inventive, and tireless mind through the rich veins of material housed at the Museum. The exhibition also gives us the chance to reassess the body of work in terms of recent scholarship. Additionally, since much of Toulouse-Lautrec's work is on paper and can be exhibited for only intermittent and limited periods of time, this show has given us an opportunity to examine these works from the point of view of conservation. Indeed, as it turned out, a number of the works on paper underwent extensive treatment before going on view.
The Museum's collection of art by Toulouse-Lautrec, the result largely of generous donations from private collectors, includes paintings, drawings, and examples of his finest and most important prints. The artist excelled in lithography; a hundred years ago his bold, persistent experimenting gave this medium an entirely new appearance just when the centennial of its invention was being marked in Europe. In fact, with the wealth of examples at the Metropolitan Museum, we now can celebrate the bicentennial of lithography through the works of Toulouse-Lautrec, the artist who virtually reinvented this medium. (This title was originally published in 1995/96.)

Toulouse-Lautrec in The Metropolitan Museum of Art

Honoré Daumier (1808-1879) is best known as the nimble caricaturist of French politics and the habits of the bourgeoisie. The nearly 4,000 lithographs he created for the Parisian press have long been appreciated as magic windows on the perils and follies of everyday life and continue to be widely admired. However, it is in his rarer and less famous drawings and watercolors, the private work he made for himself and a very limited audience, that Daumier most clearly emerges as an artist of exceptional genius. Indeed, it was on the strength of his skill as a draftsman that Baudelaire declared Daumier the equal of Ingres and Delacroix. This volume accompanies an exhibition at the Städel Museum, Frankfurt, and The Metropolitan Museum of Art, New York, which offered the most extensive display of Daumier's drawings since the Paris retrospectives of 1901 and 1934. Featuring about 150 works from twenty of the world's foremost museums and from private collections, it included casual sketches produced by the artist to vent his restless imagination as well as many of the highly finished watercolors he designed as formal presentations of his art. By combining Daumier's drawings with selected examples of his paintings, prints, and bronzes, this book traces the evolution of the artist's succinct and emphatically expressive style from its roots in the European tradition exemplified by Rembrandt, Rubens, and Fragonard to its modern manifestations in the works of Degas, Cézanne, Toulouse-Lautrec, and Beckmann. In the course of his long and productive career Daumier returned again and again to favorite themes, often after considerable lapses of time. Thus the works here are grouped by their subject matter into six sections: studies of individual figures and faces; narrative scenes inspired by history or literature; views of contemporary urban and domestic life; dramatic portrayals of lawyers in court; depictions of street performers; and episodes in the wanderings of Don Quixote and Sancho Panza. Five essays, in which the exhibition's curators are joined by two other scholars of nineteenth-century art history, investigate particular aspects of Daumier's work as a draftsman: the character of his fluid, energetic style; the complex iconography and structure of his drawings; the essentially sculptural nature of his art; his effective mastery of pose and gesture; and his personal view of the artist's role in society.  [This book was originally published in 1992 and has gone out of print. This edition is a print-on-demand version of the original book.]

Stuffmann, Margret

Vincent van Gogh (Dutch, 1853–1890) believed that drawing was "the root of everything." A self-taught artist, he succeeded, between 1881 and 1890, in developing an inimitable graphic style. This book traces the artist's successive triumphs as a draftsman, first in the Netherlands and later in France, highlighting the diversity of his technical invention and the striking continuity of his vision. Given the pivotal role drawings played in Van Gogh's artistic conception and the rich dialectic they enjoyed with his oil paintings, a small selection of related canvases by the artist is also featured. This book presents approximately 120 works in charcoal, ink, graphite, watercolor, and diluted oils. The authors explore enduring questions that surround Van Gogh's drawings, including their manufacture, artistic precedents, and contribution to Modernism. In addition, the text discusses the significance of the artist's drawing practice to his development as a painter. The essays and entries were painstakingly researched and provide fresh interpretations of the motivating influences that shaped the artist's contributions to the history of drawing. [This book was originally published in 2005 and has gone out of print. This edition is a print-on-demand version of the original book.]

Vincent van Gogh: The Drawings

Van Heugten, Sjraar

Vellekoop, Marije

History & Criticism

In 1889 Pierre Bonnard, then in his early twenties, was commissioned to design a poster for a brand of champagne. When his spirited creation―the image of a belle suggesting in disarming fashion the pleasures to be had from a glass of bubbly―made its appearance on the streets of Paris, it was an instant success, helping to launch Bonnard on his career as a professional artist. The poster France-Champagne also introduced him to color lithography, a medium popular with artists and public alike for its creative possibilities and as a means of bringing art to a wider audience. For many years the graphic arts continued to play a seminal role in Bonnard's development. Where his sympathies were engaged, he proved to be a born illustrator, with the knack of communicating his subject in a manner distinctly his own. His witty, seemingly casual designs were in demand for posters and for covers of books and sheet music. He contributed lithographs to print portfolios and illustrations, often irreverent, to the avant-garde periodicals of his day. With his brother-in-law, the musician Claude Terrasse, he produced a children's music primer and an album of piano pieces for the family that show him to have been an observant uncle with a sense of fun. He even created a multiple, a folding screen whose four lithographic panels, depicting a fashionable mother and her children out for a walk, brought the Paris street indoors. The culminating legacy of those years at the turn of the century lay in the three great works of lithography that Bonnard published through his dealer Ambroise Vollard: a portfolio of city scenes, Quelques Aspects de la vie de Paris, and two illustrated deluxe books, very different in their content, Verlaine's Parallèlement and the antique pastoral romance Daphnis et Chloe. They were not an overwhelming success at the time, and Parallèlement in particular was criticized for Bonnard's bold treatment of the printed page. But from a later perspective they are unsurpassed examples of the art of the peintre-lithographe. As painting became more and more the center of Bonnard's life, and as he moved away from Paris, making a home first in the Seine Valley and then in the South of France, his involvement with the graphic arts inevitably diminished. But he never lost touch with them, and to the end of his life seems always to have been open to requests from friends and publishers to supply lithographs, etchings, and book illustrations. Bonnard's graphic production can be seen as the public face of his art, the one that shows him at his most gregarious and entertaining. To be fully appreciated this material needs to be studied in light of the artist's oeuvre as a whole. By analyzing the broad themes that engaged Bonnard's attention―scenes of family life, Paris vistas and activities, the intimate nude, and familiar landscapes―the authors trace his development from the concise abstractions of his youth to the expansive, color-filled works of his maturity. Their essays, lavishly documented with reproductions and comparative material, demonstrate the profound extent to which Bonnard's vision as a painter was related to and affected by his activities as a printmaker and illustrator. Colta Ives is the Curator-in-charge of the Department of Prints and Photographs at The Metropolitan Museum of Art, New York, and a specialist in nineteenth-century French prints. Helen Giambruni is a Bonnard scholar whose studies have focused on his early works. Sasha M. Newman, Seymour H. Knox, Jr., Curator of European and Contemporary Art at the Yale University Art Gallery, is an expert on Bonnard's later paintings. Their individual insights and combined knowledge of the subject make them uniquely qualified to illuminate a vivid and relatively little known aspect of Bonnard's genius. [This book was originally published in 1989 and has gone out of print. This edition is a print-on-demand version of the original book.]

Pierre Bonnard: The Graphic Art

Newman, Sasha M.

Gianbruni, Helen

See the best price to sell, buy, or rent books by Ives, Colta. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Ives, Colta

See the best price to sell, buy, or rent books by Ives, Colta. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Romanticism & the School of Nature: Nineteenth-Century European Drawings and Oil Sketches From the Karen B. Cohen Collection

Daumier Drawings

Goya in the Metropolitan Museum of Art

The Private Collection of Edgar Degas A Summary Catalogue

The Lure of the Exotic: Gauguin in New York Collections

Vincent Van Gogh: The Drawings (Metropolitan Museum of Art Series)

Toulouse-Lautrec in The Metropolitan Museum of Art

Daumier Drawings

Vincent van Gogh: The Drawings

Pierre Bonnard: The Graphic Art