DOCSLIB.ORG

News Release

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
News Release The Metropolitan Museum of Art news release For release Communications Department 1000 Fifth Avenue Immediate New York, NY 10028-0198 tel 212-570-3951 Contact fax 212-472-2764 email [email protected] Elyse Topalian Sabina Potaczek Crossing the Channel: British and French Painting in the Age of Romanticism Exhibition dates: October 8, 2003 - January 4, 2004 Exhibition location: Tisch Galleries, second floor Press preview: Tuesday, October 7, 10:00 a.m.—noon Crossing the Channel: British and French Painting in the Age of Romanticism, a groundbreaking exhibition opening at The Metropolitan Museum of Art on October 8, 2003, will fully explore for the first time the important exchange of art and ideas that originated between France and England during the decades following the fall of Napoleon in 1815 - a crucial period that saw the full flowering of the Romantic revolution. The exhibition, which remains on view through January 4, 2004, will bring together major works by artists such as Constable, Bonington, J.M.W. Turner, Delacroix, and Gericault, all of whom played a key role in this unprecedented dialogue across the English Channel and between the two national schools. The exhibition is made possible by United Technologies Corporation. The exhibition was organized by Tate Britain, in association with The Metropolitan Museum of Art and The Minneapolis Institute of Arts. Whereas traditional views have tended to stress the impact that eatly 19th-century French painters had on their British counterparts, Crossing the Channel reveals the important influence that English innovations - notably a new emphasis on pure landscape painting, the experimental, impressionistic techniques of the English watercolorists, and the works (more) Crossing the Channel Page 2 of the British Romantic writers - exerted on French art at this time. The selection of approximately 140 paintings and works on paper - garnered from more than 40 collections worldwide - includes such icons of Romantic art as Turner's A Disaster at Sea; Constable's The White Horse and View on the Stour near Dedham (both never before loaned by their host institutions), and Gericault's first study for The Raft of the Medusa. With the defeat of Napoleon in 1815 and the restoration of peace, French and English civilians could, for the first time in almost 20 years, cross the Channel in safety. Among them were artists, connoisseurs, and collectors, eager to rediscover and explore the culture of their erstwhile enemies. Following the end of the Napoleonic regime, however, a conviction also grew that the 18th-century Enlightenment ideals of rationalism, confidence, and order - given artistic expression in the smooth perfection of the Neoclassical style - were no longer valid. A new array of attitudes and aesthetic sensibilities - which came to be called Romanticism - now celebrated extremes of emotion, the irrational, and the power of nature to awe and inspire. This need to break with the past and explore new modes of expression was felt keenly on both sides of the Channel. While French artists - led by the twin titans of Eugene Delacroix and Theodore Gericault - became the supreme exponents of Romantic painting, their achievement depended importantly on the example of contemporary English art and culture. Organized thcmatically, Crossing the Channel explores the affinities and exchanges between British and French painters in terms of subject matter, sources of inspiration, and technical innovations. The exhibition also examines the cultural, commercial, and political events that fostered this artistic dialogue, focusing especially on the crucial period from 1820 to 1840. (more) Crossing the Channel Page 3 For example, visitors will have the opportunity to see key works, reunited for first time in almost two centuries, from the Paris Salons of 1824 and 1827 - nicknamed the "English Salons" because of the preponderance of British pictures on view. Prominent among them is Constable's View on the Stour near Dedham (1822, The Huntington Library, Art Collections and Botanical Gardens) - one of the artist's famous "six-footers" - whose majestic scale and bold naturalism caused a sensation at the Salon of 1824. Also on view will be Thomas Lawrence's Portrait of Master Charles William Lambton (1825, private collection), one of the stars of the Salon of 1827 and greatly admired by the French for its "Byronic" qualities. Delacroix's Portrait of Louis-Auguste Schwiter (ca. 1826, The National Gallery, London), with its poetic mood and suave handling of paint, has been regarded as an homage to Lawrence. One of the defining moments in the English perception of French Romantic painting was the 1820 exhibition in London of Gericault's colossal image of shipwreck and despair, The Raft of the Medusa (1819, Musee du Louvre, Paris [not in the exhibition]), which attracted some 40,000 visitors - among them England's own master of marine disasters, J.M.W. Turner. The sensational impact of this event will be reconstructed through the display of a number of Gericault's studies in oil and watercolor for the work, as well as a full-scale replica made by French Academicians (1859-60, Musee de Picardie, Amiens) of the 16-by-23-foot original. The exhibition also explores the pivotal role played by the expatriate English artist Richard Parkes Bonington as a mediator between the developing schools of French and British Romantic painting. A close friend of Delacroix, with whom he once shared a studio, Bonington also knew and studied the works of Lawrence and Turner. Important examples of his marine views, remarkable for their luminous palette and free handling of paint, include French Coast with Fisherman (ca. 1825, private collection), the first of hispaintings exhibited in London, and A Fishmarket near Boulogne (1824, Yale Center for British Art), which was awarded a medal in Paris at the "English Salon" of 1824. (more) Crossing the Channel Page 4 Contemporary British writers, particularly Byron and Sir Walter Scott, played a pioneering role in the Romantic movement, and the exhibition fully documents the important impact their works had on artists on both sides of the Channel. The most famous of Delacroix's many illustrations of Byronic themes, The Death of Sardanapalus (1827, Musee du Louvre [not in the exhibition]), is represented by a reduced version of the painting (ca. 1846, Philadelphia Musum of Art), created by the artist for himself, prior to selling the original to an English collector. Quintessentially Romantic in its exoticism and harrowing violence, it shows the king of ancient Assyria witnessing his dying wish - the slaughter of his slaves, harem, and horses. Works inspired by the historical romances of Scott include Edwin Henry Landseer's The Hunting of Chevy Chase (1825-26, Birmingham Museums and Art Gallery), Bonington's Quentin Durward at Liege (1828, Nottingham City Museums and Galleries), and Camille Roqueplan's Maree dEquinoxe (The Antiquary) (1826, Chi Mei Museum, Taiwan). Scott's evocative novels also inspired a vogue for so-called genre-historique paintings, which sought to recreate historical events in a realistic and compellingly human manner. The exhibition includes one of the most masterful examples by a French artist, Paul Delaroche's The Execution of Lady Jane Grey (1833, The National Gallery, London). The poignant scene of the beautiful young English queen, blindfolded and kneeling before the executioner's block, was one of the most popular works in the Paris Salon of 1834. The English predilection for illustrating scenes from contemporary life, particularly of the lower classes, was also taken up by the French, as evidenced in works such as Louis- Leopold Boilly's Moving Day (1822, The Art Institute of Chicago). Above all, it is in the field of landscape painting that the English influence on French art was the most profound and far-reaching, extending even to the origins of Impressionism. (more) Crossing the Channel Page 5 Works by Paul Huet and the Barbizon School painters Theodore Rousseau, and Jules Dupre, with their immediacy, chromatic brilliance, and atmospheric effects, are clearly indebted to the examples of Constable and Turner. Turner and other English artists were also pioneers in the use of watercolor as an expressive medium, and their innovations encouraged the revival of the watercolor tradition in France. Roqueplan's A Shipwreck (ca.1825-30, Musee des Beaux-Arts et de la Dentelle, Calais), with its fluid brushwork and emphasis on the terrifying forces of nature, is Turneresque in both technique and subject matter. The curator of the exhibition is Patrick Noon, Patrick and Aimee Butler Curator of Painting at The Minneapolis Museum of Art, and principal author of the catalogue. Gary Tinterow, Engelhard Curator of 19th-century European Painting, organized the exhibition at the Metropolitan, with the assistance of Kathryn Calley Galitz, Research Associate. The exhibition is accompanied by a fully illustrated catalogue, Crossing the Channel: British and French Painting in the Age of Romanticism, published by Tate Publishing. Crossing the Channel has already been on view at Tate Britain, London, and The Minneapolis Museum of Art. A variety of educational programs will be offered in conjunction with the exhibition, including gallery talks. Two slide-illustrated lectures on various aspects of Romanticism in French and British paintings by scholars Robert Rosenblum of the Institute of Fine Arts, New York University, and Patrick Noon of The Minneapolis Museum of Art will take place on Sunday, December 7, 3:00-5:00 p.m., in the Grace Rainey Rogers Auditorium. These programs are free to the public with Museum admission. (more) Crossing the Channel Page 6 An Audio Guide of the exhibition will be available; the fee for rentals will be $5.00 for members of the Museum, $6.00 for non-members, and $4.00 for children under 12. The Audio Guide program is sponsored by Bloomberg. The exhibition will be featured on the Museum's Web site, wwrw.metmuseum.org.
Load more

Recommended publications
  • Review of the Year 2012–2013
    review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way.
    [Show full text]
  • Antiquaries in the Age of Romanticism: 1789-1851
    Antiquaries in the Age of Romanticism: 1789-1851 Rosemary Hill Queen Mary, University of London Submitted for the degree of PhD March 2011 1 I confirm that the work presented in this thesis and submitted for the degree of PhD is my own. Rosemary Hill 2 Abstract The thesis concentrates on the work of fourteen antiquaries active in the period from the French Revolution to the Great Exhibition in England, Scotland and France. I have used a combination of the antiquaries’ published works, which cover, among other subjects, architecture, topography, costume history, Shakespeare and the history of furniture, alongside their private papers to develop an account of that lived engagement with the past which characterised the romantic period. It ends with the growing professionalistion and specialisation of historical studies in the mid-nineteenth century which left little room for the self-generating, essentially romantic antiquarian enterprise. In so far as this subject has been considered at all it has been in the context of what has come to be called ‘the invention of tradition’. It is true that the romantic engagement with history as narrative led to some elaboration of the facts, while the newness of the enterprise laid it open to mistakes. I have not ignored this. The restoration of the Bayeux Tapestry, the forged tartans of the Sobieski Stuarts and the creation of Shakespeare’s Birthplace are all considered. Overall, however, I have been concerned not to debunk but as it were to ‘rebunk’, to see the antiquaries in their historical context and, as far as possible, in their own terms.
    [Show full text]
  • The Art of the Metropolitan Museum of New York
    tCbe Hrt of tbe flftetiopoUtan fIDuseum 3Bg tbe Same Butbor 2L XTbe art of tbe IRetberlanb (Balleriea Being a History of the Dutch School of Painting Illuminated and Demonstrated by Critical Descriptions of the Great Paintings in the many Galleries With 48 Illustrations. Price, $2.00 net £ L. C. PAGE & COMPANY New England Building, Boston, Mass. GIBBS - C HANNING PORTRAIT OF GEORGE WASHINGTON. By Gilbert Stuart. (See page 287) fje gtrt of iWetcopolitany 3*1 it scnut of 3Ul” Motfe & Giving a descriptive and critical account of its treasures, which represent the arts and crafts from remote antiquity to the present time. ^ By David C. Preyer, M. A. Author of “ The Art of the Netherland Galleries,” etc. Illustrated Boston L. C. Page & Company MDCCCC1 X Copyright, 1909 By L. C. Page & Company (incorporated) All rights reservea First Impression, November, 1909 Electrotyped and Printed at THE COLONIAL PRESS C.H . Simonas Sr Co., Boston U.S.A. , preface A visit to a museum with a guide book is not inspiring. Works of art when viewed should con- vey their own message, and leave their own im- pression. And yet, the deeper this impression, the more inspiring this message, the more anxious we will be for some further information than that conveyed by the attached tablet, or the catalogue reference. The aim of this book is to gratify this desire, to enable us to have a better understanding of the works of art exhibited in the Metropolitan Museum, to point out their corelation, and thus increase our appreciation of the treasures we have seen and admired.
    [Show full text]
  • Universite De Provence Lettres Et Sciences Humaines
    UNIVERSITE DE PROVENCE LETTRES ET SCIENCES HUMAINES UFR ERLAOS Département d’Etudes Luso-Brésiliennes Année 2006-2007 Les fruits brésiliens dans l’iconographie (XVIe - XXe siècles) : Entre exotisme et identité Volume I Mémoire présenté en vue de l’obtention du Master II Aire Culturelle Romane, Spécialisation portugais par Karine Lehmann sous la direction de Madame Ernestine Carreira 1 TABLE DES MATIERES VOLUME I Introduction 1 Première partie : L’EDEN RETROUVE 6 1 – De l’image du Paradis Terrestre 6 a) D’abord il y eut l’Eden 8 b) Des premières images de fruits 11 2 – De l’image coloniale 21 a) Les artistes au service d’une idéologie 22 b) De la représentation naturaliste des fruits 30 c) Les fruits dans les arts décoratifs 34 Deuxième partie : LES FRUITS DE LA CONNAISSANCE 39 1 – De l’image scientifique 42 a) La botanique et l’iconographie 43 b) Des fruits et des expéditions 48 2 – De l’image romantique 54 a) La mission artistique et civilisatrice 55 b) Du pittoresque à l’ « état d’âme » 65 c) De la propagande coloniale 75 Troisième partie : LES FRUITS DU METISSAGE 83 1 – De l’image « reflet » 87 a) Le « second » naturalisme 88 b) Des fruits photogéniques 90 2 – De l’image métisse 99 a) Pourquoi le Brésil ? 100 b) Un art métis régionaliste 110 Conclusion 121 Bibliographie 123 2 L’image, la représentation d’un « ailleurs édénique », prirent dans l’Histoire de notre civilisation une place importante depuis les premiers voyages des Européens, en particulier ceux qui concernent le Nouveau Monde. De Marco Polo, dont les voyages en Extrême-Orient
    [Show full text]
  • Melania G. Mazzucco
    Mamoli Zorzi and Manthorne (eds.) FROM DARKNESS TO LIGHT WRITERS IN MUSEUMS 1798-1898 Edited by Rosella Mamoli Zorzi and Katherine Manthorne From Darkness to Light explores from a variety of angles the subject of museum ligh� ng in exhibi� on spaces in America, Japan, and Western Europe throughout the nineteenth and twen� eth centuries. Wri� en by an array of interna� onal experts, these collected essays gather perspec� ves from a diverse range of cultural sensibili� es. From sensi� ve discussions of Tintore� o’s unique approach to the play of light and darkness as exhibited in the Scuola Grande di San Rocco in Venice, to the development of museum ligh� ng as part of Japanese ar� s� c self-fashioning, via the story of an epic American pain� ng on tour, museum illumina� on in the work of Henry James, and ligh� ng altera� ons at Chatsworth, this book is a treasure trove of illumina� ng contribu� ons. FROM DARKNESS TO LIGHT FROM DARKNESS TO LIGHT The collec� on is at once a refreshing insight for the enthusias� c museum-goer, who is brought to an awareness of the exhibit in its immediate environment, and a wide-ranging scholarly compendium for the professional who seeks to WRITERS IN MUSEUMS 1798-1898 proceed in their academic or curatorial work with a more enlightened sense of the lighted space. As with all Open Book publica� ons, this en� re book is available to read for free on the publisher’s website. Printed and digital edi� ons, together with supplementary digital material, can also be found at www.openbookpublishers.com Cover image:
    [Show full text]
  • Archives Des Musées Nationaux Direction Des Musées De France (Série AA)
    Archives des musées nationaux direction des musées de France (série AA) Répertoire numérique n° 20150333 Hélène Brossier, Audrey Clergeau, Camille Fimbel, Guillaume Monnot, archivistes sous la direction de la mission des archives du ministère de la Culture et de la communication à partir des inventaires rédigés par les agents des Archives des musées nationaux Première édition électronique Archives nationales (France) Pierrefitte-sur-Seine 2015 1 Mention de note éventuelle https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_054219 Cet instrument de recherche a été rédigé avec un logiciel de traitement de texte. Ce document est écrit en ilestenfrançais.. Conforme à la norme ISAD(G) et aux règles d'application de la DTD EAD (version 2002) aux Archives nationales, il a reçu le visa du Service interministériel des Archives de France le ..... 2 Archives nationales (France) Sommaire Archives des musées nationaux-Direction des musées de France (série AA) 10 Courrier départ 13 Juin-Décembre 1928 13 Janvier-Juin 1929 13 Juillet-Décembre 1929 13 Janvier-Mai 1930 13 Juin-Septembre 1930 13 Octobre-Décembre 1930 13 Janvier-Avril 1931 13 Mai-Août 1931 13 Septembre-Décembre 1931 13 Janvier-Avril 1932 13 Mai-Juillet 1932 13 Août-Novembre 1932 13 Décembre 1932-Janvier 1933 14 Février-Avril 1933 14 Mai-Juin 1933 14 Juillet-Septembre 1933 14 Octobre-Novembre 1933 14 Décembre 1933-Janvier 1934 14 Février-Mars 1934 14 Avril-Mai 1934 14 Juin-Juillet 1934 14 Août-Septembre 1934 14 Octobre-Novembre 1934 14 Décembre 1934-Janvier 1935 14 Février-Mars
    [Show full text]
  • Du E Au E Siècle
    DENIS-MICHEL BOËLL LES PEINTRES DE MARINES Du !"##e au !! e siècle Éditions OUEST-FRANCE LesPeintresDeMarines_001A256.indd 123 26/05/2016 15:07 124 LesPeintresDeMarines_001A256.indd 124 26/05/2016 15:07 P Chapitre 5 p SCÈNES DE NAUFRAGE ET SENTIMENT DU PAYSAGE : L’OCÉAN ROMANTIQUE a chambre où ma mère accoucha domine une Le fait divers tragique, dont le tableau produit une image partie déserte des murs de la ville, et à travers les fascinante, est encore très présent dans la mémoire de l’opinion fenêtres de cette chambre on aperçoit la mer qui publique. Partie le 17 juin 1816 de Rochefort, la frégate la s’étend à perte de vue, en se brisant sur des écueils Méduse faisait route vers le Sénégal pour y conduire un nouvel […] Le mugissement des vagues, soulevée par une administrateur et plus de deux cents colons devant s’installer bourrasque annonçant l’équinoxe d’automne, dans ce territoire à la suite de sa restitution par l’Angleterre empêchait d’entendre mes cris : on m’a souvent conté ces détails ; à la France, au lendemain de la chute de l’Empire, lorsque le leur tristesse ne s’est jamais e/ acée de ma mémoire. Il n’y a pas navire s’est échoué sur le banc d’Arguin. A ses piètres qualités deL jour où, rêvant à ce que j’ai été, je ne revois en pensée le rocher de navigateur, le commandant Hugues Duroy de Chaumareys, sur lequel je suis né, la chambre où ma mère m’infl igea la vie, la dont l’essentiel de l’expérience d’o@ cier de marine remonte à ses tempête dont le bruit berça mon premier sommeil… années de jeunesse sous l’Ancien Régime avant qu’il n’émigre, 125 En évoquant sa naissance à Saint-Malo, dans ces Mémoires d’outre- ajoute au lendemain de l’échouement une attitude qui lui sera tombe qui font de lui un précurseur du romantisme littéraire, également reprochée lors de son procès devant le conseil de François-René de Chateaubriand (1768-1848) place sa destinée guerre en 1817 : après trois jours de vaines tentatives pour sous le signe d’une tempête automnale.
    [Show full text]
  • 18Th and 19Th Century Drawings And
    18 TH AND 19 TH CENTURY DRAWINGS AND WATERCOLOURS 2009 Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures department in 1993. He soon specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical and Travel sales. Topographical views, whether they be of Britain or worldwide, have remained an abiding passion. Guy left Sotheby’s in early 2004 and has worked as a dealer since then, first based at home, and now in his gallery on Mason’s Yard, St James’s, shared with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. 2 18 TH AND 19 TH CENTURY DRAWINGS AND WATERCOLOURS 2009 Monday to Friday 10am to 6pm Weekends and evenings by appointment Guy Peppiatt Fine Art Ltd Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU Tel: [+44] (20) 7930 3839 Mobile: [+44] (0) 7956 968284 Fax: [+44] (20) 7839 1504 [email protected] www.peppiattfineart.co.uk 3 1 Samuel Hieronymous Grimm (1733-1794) Figures at the Well Signed lower right: S.H Grimm fecit 1772 Provenance: Pen and grey ink and watercolour on laid paper, with original pen and ink border, oval James Tobin until 1818; 23.8 by 31.2cm., 9 ¼ by 12 ½ in. Sir John Fitzherbert, Bt.; C.M. Harmsworth , 1961; This drawing was part of an album of sixteen drawings by Grimm sold by James Tobin’s With Appleby Bros., London, 1973 ; estate in 1818 described as `a volume containing a beautiful collection of Tinted Anonymous sale, Christie’s, 18 th March 1980, lot 34 Drawings by Grimm, very highly finished.
    [Show full text]
  • A View of a Riverbank Watercolour Over an Underdrawing in Pencil
    Eugène DELACROIX (Charenton-Saint Maurice 1798 - Paris 1863) A View of a Riverbank Watercolour over an underdrawing in pencil. Inscribed by the artist champrosay on the verso. 213 x 329 mm. (8 3/8 x 13 in.) Eugène Delacroix produced relatively few landscape drawings, apparently because he regarded landscape as background for his paintings and not necessarily as a subject in itself. He only occasionally worked in this field, and never exhibited a landscape painting at the Salon. Although Delacroix’s use of watercolour as a medium for landscape sketches was inspired by his visit to England in 1826 and his friendship with the watercolourist Richard Parkes Bonington, it was not until the 1840’s that he regularly made landscape studies in the medium. These works were, however, never exhibited but kept in his studio until his death. Delacroix’s revived interest in landscape from the 1840’s onwards can be seen as, to some extent, the result of a series of travels he made to the mountains, the seaside and the country for the sake of his health, as well as an increasing desire for solitude and a respite from the demands made on him by his work in Paris. The artist’s inscription ‘champrosay’ on the verso of the present sheet identifies this watercolour as a view near Delacroix’s country home at Champrosay, to the south of Paris, near Fontainebleau. Delacroix began renting the house in 1844, spending more and more time there and eventually purchasing the property in 1858, explaining his decision in a letter to his cousin; ‘But this is home: for fifteen years I’ve been coming to this region, seeing the same people, the same woods, the same hills…In other words, I bought the house…it will provide me with a small refuge in keeping with my humble fortune.’ At Champrosay, where ‘he found a veritable laboratory for the practice of landscape’, Delacroix spent much of his time sketching and drawing from nature, particularly on his daily walks in the nearby forest of Sénart and along the river Seine, just to the west of the town.
    [Show full text]
  • Delacroix About This Free Course This Free Course Provides a Sample of Level 2 Study in Arts and Humanities
    Delacroix About this free course This free course provides a sample of Level 2 study in Arts and Humanities: http://www.open.ac.uk/courses/find/arts-and-humanities. This version of the content may include video, images and interactive content that may not be optimised for your device. You can experience this free course as it was originally designed on OpenLearn, the home of free learning from The Open University – www.open.edu/openlearn/history-the-arts/history/history-art/delacroix/content-section-0 There you’ll also be able to track your progress via your activity record, which you can use to demonstrate your learning. The Open University, Walton Hall, Milton Keynes, MK7 6AA Copyright © 2016 The Open University Intellectual property Unless otherwise stated, this resource is released under the terms of the Creative Commons Licence v4.0 http://creativecommons.org/licenses/by-nc-sa/4.0/deed.en_GB. Within that The Open University interprets this licence in the following way: www.open.edu/openlearn/about-openlearn/frequently-asked-questions-on-openlearn. Copyright and rights falling outside the terms of the Creative Commons Licence are retained or controlled by The Open University. Please read the full text before using any of the content. We believe the primary barrier to accessing high-quality educational experiences is cost, which is why we aim to publish as much free content as possible under an open licence. If it proves difficult to release content under our preferred Creative Commons licence (e.g. because we can’t afford or gain the clearances or find suitable alternatives), we will still release the materials for free under a personal end- user licence.
    [Show full text]
  • Courbet and Modernism Papers from a Symposium Held at the J
    Looking at the Landscapes: Courbet and Modernism Papers from a Symposium Held at the J. Paul Getty Museum on March 18, 2006 Table of Contents Preface 1 Mary Morton is Associate Curator of Paintings at the J. Paul Getty Museum, Los Angeles Rough Manners: Reflections on Courbet and Seventeenth-Century Painting 6 David Bomford is Associate Director of Collections at the J. Paul Getty Museum, Los Angeles The Purposeful Sightseer: Courbet and Mid-Nineteenth-Century Tourism 19 Petra ten-Doesschate Chu is Professor of Art History at Seton Hall University in South Orange, New Jersey Parallel Lines: Gustave Courbet’s “Paysages de Mer” and Gustave Le Gray’s Seascapes, 1856–70 35 Dominique de Font-Réaulx is Curator of Photography at the Musée d'Orsay, Paris, France Painting at the Origin 46 Paul Galvez is a Ph.D. candidate at Columbia University in New York “The more you approach nature, the more you must leave it”: Another Look at Courbet’s Landscape Painting 57 Klaus Herding is Professor Emeritus of Art History at the Johann Wolfgang Goethe University in Frankfurt, Germany Papers from the Symposium Looking at the Landscapes: Courbet and Modernism Held at the J. Paul Getty Museum on March 18, 2006 © 2007 J. Paul Getty Trust © 2007 The J. Paul Getty Trust Published on www.getty.edu in 2007 by The J. Paul Getty Museum Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu Mark Greenberg, Editor in Chief Mollie Holtman, Editor Abby Sider, Copy Editor Ruth Evans Lane, Senior Staff Assistant Diane Franco, Typographer Stacey Rain Strickler, Photographer ISBN 978-089236-927-0 This publication may be downloaded and printed either in its entirety or as individual chapters.
    [Show full text]
  • COURBET and the MODERN LANDSCAPE This Page Intentionally Left Blank COURBET and the MODERN LANDSCAPE
    COURBET AND THE MODERN LANDSCAPE This page intentionally left blank COURBET AND THE MODERN LANDSCAPE MARY MORTON L CHARLOTTE EYERMAN With an essay by DOMINIQUE DE FONT-REAULX THE J. PAUL GETTY MUSEUM l LOS ANGLES This publication is issued in conjunction with the exhibition Courbet and the Modern Landscape, held at PAGE vi: Gustave Courbet, Grotto ofSarrazine near the J. Paul Getty Museum, Los Angeles, from February 21 to May 14, 2006; at the Museum of Fine Arts, Nans-sous-Sainte-Anne, ca. 1864 (detail, pi. 20); Houston, from June 18 to September 10, 2006; and at The Walters Art Museum, Baltimore, from October 15, PAGE xii: Gustave Courbet, The Studio of the 2006, to January 7, 2007. Painter: A Real Allegory of Seven Years of My Artistic Life, 1855 (detail, fig. 2); PAGE 20: Gustave Courbet, Courbet and the Modern Landscape has been organized by the J. Paul Getty Museum, the Museum of Fine Stream in the Forest (Ruisseau dans la forêt), ça. 1862 Arts, Houston, and The Walters Art Museum. This exhibition is supported by an indemnity from the (detail, pi. 10); PAGE 38: Achille Quinet, Nature Federal Council on the Arts and the Humanities. Study, ca. 1870 (detail, fig. 30); PAGE 54: Gustave Courbet, Valley of the Loue, possibly near Mouthier- Haute-Pierre, late i86os (detail, pi. 5); PAGE 66: © 2006 J. Paul Getty Trust Gustave Courbet, Grotto of the Black Well (Puits Second printing 2007 Noir), 1865 (detail, pi. 15); PAGE 80: Gustave Courbet, La Roche Pourrie, 1864 (detail, pi. 19); Getty Publications PAGE 90: Gustave Courbet, Roe Deer in a Snowy 1200 Getty Center Drive, Suite 500 Landscape (Chevreuils dans un paysage de neige), Los Angeles, California 90049-1682 ca.
    [Show full text]