DOCSLIB.ORG

Flemish Art Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Flemish Art Collection Flemish Art Collection Three museums of fine arts join forces The Flemish Art Collection is a structural partnership joining the three main museums of fine arts in Flanders: the Royal Museum of Fine Arts in Antwerp, the Groeninge Museum in Bruges and the Ghent Museum of Fine Arts. The museums’ collections have all been developed in a similar way. Together, they offer a unique, representative overview of Flemish art from the 15th to the 20th century and historically. The three museums complement each other perfectly as partners sharing the same responsibility in our cultural heritage. By exchanging their expertise, they strive for a more sustainable, high quality management and international awareness of their collections, including works that are part of the world patrimony. The partnership is truly visible in joint exhibitions and promotions, but also concerns rather ‘hidden’ subjects like insurance, security, restoration and conservation expertise. Finally, the three museums have laid a foundation for a worldwide renowned research network. Three museums, one Flemish Art Collection The Royal Museum of Fine Arts in Antwerp, the historical art museum of the Flemish Community, is situated in the heart of the trendy Southern part of Antwerp. The stately 19th century building houses some magnificent works of art. The comprehensive collections present a nice overview of the history of artistic life in Flanders and Belgium. You will discover an impressive collection of Baroque art works by Rubens and his contemporary colleagues. The 19th century Salon artists and the Modernist painters James Ensor and Rik Wouters are also represented. The Royal Museum of Fine Arts exhibits prominent Flemish works alongside international artists from Italy, the Netherlands and France, such as Jean Fouquet, Titiaan, Frans Hals, Auguste Rodin and Amedeo Modigliani. Enjoy the surprising and multifaceted experience! The Groeninge Museum, one of the municipal museums of Bruges, offers a fascinating overview of six centuries of visual arts in Belgium. The perfect place to admire the world-famous Flemish Primitives, as the collection includes art works by Jan Van Eyck, Hugo van der Goes, Hans Memling and Gerard David. In addition to this, the Groeninge Museum offers a selection of works from the 18th and 19th century Neoclassicist and Realist art movement, milestones from Belgian Symbolism and masterpieces from Flemish Expressionism. The exhibition galleries of the Groeninge Museum have been fully renovated in 2002-2003. This has resulted in an airy and spatial interior, offering modern surroundings to both old and contemporary art. The Ghent Museum of Fine Arts was designed in 1898 by the wellknown architect Charles van Rysselberghe as a Classicist temple of the arts. During the past few years, the museum building has been thoroughly renovated and restored. On 26th May 2007 it will reopen to the public. From then on it will be possible to admire it in its full glory. Two masterpieces by Jheronimus Bosch are part of the top collection of old art in the Museum of Fine Arts. The core of the collection however is made up by art works from the 19th and 20th century. An extensive collection of paintings, sculptures and drawings introduces you to the 19th century art movements, from Realism and Romanticism, Impressionism and Symbolism through to the 20th century Expressionism and Surrealism. Contact www.flemishartcollection.be Coordination General Coordination Geert Souvereyns T +32 (0)9 225 49 24 E [email protected] Communication Kristien Verheyen T +32 (0)9 225 49 34 E [email protected] Management Royal Museum of Fine Arts Antwerp Paul Huvenne | General Director Marjolijn Barbier | Business manager T +32 (0)3 242 04 21 Groeninge Museum Bruges Manfred Sellink | Artistic Director Musea Bruges Walter Rycquart | Business Manager Musea Bruges Till-Holger Borchert | Curator Groeninge Museum T +32 (0)50 44 87 02 Museum of Fine Arts Ghent Robert Hoozee | General Director Carine Van Bruwaene | Business Manager T +32 (0)9 240 07 32 .
Load more

Recommended publications
  • Flemish Art 1880–1930
    COMING FLEMISH ART 1880–1930 EDITOR KATHARINA VAN CAUTEREN HOME WITH ESSAYS BY ANNE ADRIAENS-PANNIER PATRICK BERNAUW PIET BOYENS KLAAS COULEMBIER JOHAN DE SMET MARK EYSKENS DAVID GARIFF LEEN HUET FERNAND HUTS PAUL HUVENNE PETER PAUWELS CONSTANTIJN PETRIDIS NIELS SCHALLEY HERWIG TODTS KATHARINA VAN CAUTEREN LUC VAN CAUTEREN SVEN VAN DORST CATHÉRINE VERLEYSEN Hubert Malfait Home from the Fields, 1923-1924 Oil on canvas, 120 × 100 cm COURTESY OF FRANCIS MAERE FINE ARTS CONTENTS 7 PREFACE 211 JAMES ENSOR’S KATHARINA VAN CAUTEREN WHIMSICAL QUEST FOR BLISS HERWIG TODTS 9 PREFACE FERNAND HUTS 229 WOUTERS WRITINGS 13 THE ROOTS OF FLANDERS HERWIG TODTS KATHARINA VAN CAUTEREN 253 EDGARD TYTGAT. 65 AUTHENTIC, SOUND AND BEAUTIFUL. ‘PEINTRE-IMAGIER’ THE RECEPTION OF LUC VAN CAUTEREN FLEMISH EXPRESSIONISM PAUL HUVENNE 279 CONSTANT PERMEKE. THE ETERNAL IN THE EVERYDAY 79 THE MOST FLEMISH FLEMINGS PAUL HUVENNE WRITE IN FRENCH PATRICK BERNAUW 301 GUST. DE SMET. PAINTER OF CONTENTMENT 99 A GLANCE AT FLEMISH MUSIC NIELS SCHALLEY BETWEEN 1890 AND 1930 KLAAS COULEMBIER 319 FRITS VAN DEN BERGHE. SURVEYOR OF THE DARK SOUL 117 FLEMISH BOHÈME PETER PAUWELS LEEN HUET 339 ‘PRIMITIVISM’ IN BELGIUM? 129 THE BELGIAN LUMINISTS IN AFRICAN ART AND THE CIRCLE OF EMILE CLAUS FLEMISH EXPRESSIONISM JOHAN DE SMET CONSTANTIJN PETRIDIS 149 BENEATH THE SURFACE. 353 LÉON SPILLIAERT. THE ART OF THE ART OF THE INDEFINABLE GUSTAVE VAN DE WOESTYNE ANNE ADRIAENS-PANNIER SVEN VAN DORST 377 THE EXPRESSIONIST IMPULSE 175 VALERIUS DE SAEDELEER. IN MODERN ART THE SOUL OF THE LANDSCAPE DAVID GARIFF PIET BOYENS 395 DOES PAINTING HAVE BORDERS? 195 THE SCULPTURE OF MARK EYSKENS GEORGE MINNE CATHÉRINE VERLEYSEN 6 PREFACE Dear Reader, 7 Just so you know, this book is not the Bible.
    [Show full text]
  • Fine Arts Paris Wednesday 7 November - Sunday 11 November 2018 Carrousel Du Louvre / Paris
    Fine Arts Paris WednesdAy 7 november - sundAy 11 november 2018 CArrousel du louvre / PAris press kit n o s s e t n o m e d y u g n a t www.finearts-paris.com t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Hours Tuesday, 6 November 2018 / Preview 3 pm - 10 pm Wednesday, 7 November 2018 / 2 pm - 8 pm Thursday 8 November 2018 / noon - 10 pm Friday 9 November 2018 / noon - 8 pm Saturday 10 November 2018 / noon - 8 pm Sunday 11 November 2018 / noon - 7 pm admission: €15 (catalogue included, as long as stocks last) Half price: students under the age of 26 FINE ARTS PARIS Press oPening Main office tuesdAy 6 november 68, Bd malesherbes, 75008 paris 2 Pm Hélène mouradian: + 33 (0)1 45 22 08 77 Social media claire Dubois and manon Girard: Art Content + 33 (0)1 45 22 61 06 Denise Hermanns contact@finearts-paris.com & Jeanette Gerritsma +31 30 2819 654 Press contacts [email protected] Agence Art & Communication 29, rue de ponthieu, 75008 paris sylvie robaglia: + 33 (0)6 72 59 57 34 [email protected] samantha Bergognon: + 33 (0)6 25 04 62 29 [email protected] charlotte corre: + 33 (0)6 36 66 06 77 [email protected] n o s s e t n o m e d y u g n a t t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris "We have chosen the Carrousel du Louvre as the venue for FINE ARTS PARIS because we want the fair to be a major event for both the fine arts and for Paris, and an important date on every collector’s calendar.
    [Show full text]
  • Continuum 119 a Belgian Art Perspective
    CONTINUUM 119 A BELGIAN ART PERSPECTIVE OFF-PROGRAM GROUP SHOW 15/04/19 TO 31/07/19 Art does not belong to anyone, it usually passes on from one artist to the next, from one viewer to the next. We inherit it from the past when it served as a cultural testimony to who we were, and we share it with future generations, so they may understand who we are, what we fear, what we love and what we value. Over centuries, civilizations, societies and individuals have built identities around art and culture. This has perhaps never been more so than today. As an off-program exhibition, I decided to invite five Belgian artists whose work I particularly like, to answer back with one of their own contemporary works to a selection of older works that helped build my own Belgian artistic identity. In no way do I wish to suggest that their current work is directly inspired by those artists they will be confronted with. No, their language is mature and singular. But however unique it may be, it can also be looked at in the context of the subtle evolution from their history of art, as mutations into new forms that better capture who these artists are, and the world they live in. Their work can be experienced within an artistic continuum, in which pictorial elements are part of an inheritance, all the while remaining originally distinct. On each of these Belgian artists, I imposed a work from the past, to which they each answered back with a recent work of their own.
    [Show full text]
  • IN the FOOTSTEPS of Margareta a City Tour of Burgundian and Contemporary Features in Mechelen WELCOME to the CITY of CONTENTS
    EN IN THE FOOTSTEPS OF Margareta A city tour of Burgundian and contemporary features in Mechelen WELCOME TO THE CITY OF CONTENTS 4 History Mechelen 14 A tour of the city’s Burgundian highlights 02 03 Welcome to the city of Mechelen. Historical monuments, 48 Further abreast: parks, charming places near the water? Everything is through the Beguinage within walking distance. This guide offers you the best of Mechelen in a nutshell. This includes background 62 Further abreast: information on ancient monuments, useful tips and along the water and into nature surprising facts. The focus is on one of Mechelen’s most important periods: the Burgundian 74 City map ages. The times of Margaret of Austria and Margaret of York. Two fascinating women who left their mark on this city at the banks of the Dyle. During this tour you will tread in the footsteps of these powerful women. Imagine ... 500 years ago - Mechelen is the capital city of the Low Countries. It was where the court and the HIGHLIGHT OPENING HOURS Great Council were located. Many you just have Burgundian nobles came to live in to see this! this city. Mechelen was an important For the opening hours of churches, museums, place. This thriving time left many attractions and parks please check visit.mechelen.be/en traces in the city. You can still see the TRIVIA many city palaces, historic churches, this makes your wooden facades and richly decorated tour educational. INFORMATION WITH guild houses. CHILDREN IN MIND If that isn’t enough? Your route will TIP take you along the banks of the Dyle for the real fans! Many monuments in Mechelen have a and the Beguinage, to the brewery brown sign.
    [Show full text]
  • International Art Exhibitions 2011.01
    International 01 Art Exhibitions 2011 International 29.01.2011 > 24.04.2011 Art Exhibitions 2011 Gottfried Helnwein 1 Inferno of the Innocents Crocker Art Museum Crocker Gottfried Helnwein’s art addresses Opposite Page themes of inhumanity, violence and Untitled (Payton 4) the virtue of personal expression. This 2005, Mixed media exhibition features 70 major paintings (oil & acrylic) on canvas and photographs from throughout 160 x 106 cm Helnwein’s career. Highlights include 1 his iconic portraits of performer Marilyn The Last Child Manson, works from his recurring Helnwein abseiling down theme, ‘The Child,’ and his most recent an 80ft tall installation in series, ‘Disasters of War.’ For over forty Wexford, Ireland years, the artist has pursued a singular, 2008 radical vision realised in monumental 2 paintings and photographs. With stark The Golden Age 1 and probing psychological intensity, he (Marilyn Manson) critiques not only the past, but present- 2003, Pigment print day veneers, jolting us from the comfort 301 x 195 cm of complacency. Such confrontations Courtesy of Helnwein are informed by his upbringing in the Studio, Los Angeles post-war Vienna – an experience that 3 Sacremento fueled the artist’s passion for truth and The Disasters of War 19 tolerance. Today, Helnwein immerses 2007, Mixed media himself in our everchanging cultural (oil & acrylic) on canvas landscape, working between his studio 152 x 162 cm in Los Angeles and his castle in County In memory of Francisco Tipperary in Ireland. 3 de Goya 4 The Murmur of the Innocents 1 2009, Mixed media (oil & acrylic) on canvas 198 x 290 cm Private Collection 2 4 www.crockerartmuseum.org International 11.02.2011 > 29.05.2011 Art Exhibitions 2011 Picasso 1 Peace & Freedom Louisiana Museum of Modern ArtLouisiana Louisiana Museum of Modern Art is Opposite page intrigued by Picasso (1881-1973).
    [Show full text]
  • EUROPEANA 280: Launch & Activities April to June 2016 Jill Cousins | Europeana Foundation 4 April 2016 Promotion Schedule
    #BIGARTRIDE - EUROPEANA 280: Launch & Activities April to June 2016 Jill Cousins | Europeana Foundation 4 April 2016 Promotion Schedule . Launch April 21st Exhibition - Faces of Europe #BigArtRide - Brussels – Art Brussels/ING Belgium Press releases: #BigArtRide Europeana Art 280 PR & Comms activities April-Dec • Europeana Art History Collection • Exhibition Chapters • #BigArtRide • Jumping Jacks Title here CC BY-SA PURPOSE OF CAMPAIGN Banquet Still Life Adriaen van Utrecht 1644, Rijksmuseum Netherlands, Public Domain Goals 1. Engage people in Europe’s rich artistic history 2. Encourage the open sharing of higher quality pieces from Europe’s memory institutions 3. Demonstrate our shared European culture 4. Increase buy-in from EU states on the benefits of joint ownership of Europeana 5. Create and Promote the new channel from Europeana. CC BY-SA BACKGROUND INFORMATION Rough Sea with a Steamer near the Coast of Norway|Peder Balke c.1847-50 | Statens Museum for Kunst, Denmark | CC0 All countries contributed • 325 artworks from all 28 EU countries plus Norway • 155 with open licenses • All of decent quality. CC BY-SA PROVIDER: “Europeana 280” From the famous... Femmes de Tahiti | Paul Gauguin 1891, Musee d’Orsay France, CC BY-NC-SA CC BY-SA … to the less well known The Sleep| Corneliu Baba 1959, Timisoara Art Museum Romania, CC BY CC BY-SA APRIL 21 LAUNCH Le jardin de l'artiste à Giverny | Claude Monet 1900 | Musée d’Orsay, France, | CC-BY-SA-NC April 21 Launch • European 280 Exhibition - Introduction • #BigArtRide – Art Brussels/ ING Belgium
    [Show full text]
  • 9782390250739.Pdf
    1912 - 1932 .) ed INGA INGA ( ROSSI-SCHRIMPF the new 7 MICHEL DRAGUET PREFACE 8 TIMELINE 1912 – 1932 15 INGA ROSSI-SCHRIMPF FROM ART NOUVEAU TO NEW OBJECTIVITY 33 HELMUTH KIESEL BERLIN FROM ITS EXPANSION INTO A WORLD-CLASS METROPOLIS UP TO THE EVE OF THE APOCALYPSE 43 BURCU DOGRAMACI NEW BERLINERS 53 JANINA NENTWIG REVOLUTION!? DADA, ARBEITSRAT FÜR KUNST AND NOVEMBER GRUPPE 63 MATTHIAS SCHIRREN MELTING POT OF MODERNITY 73 ANNE SÖLL VISIONS OF EQUALITY 83 SABINE T. KRIEBEL SUBJECTIVITY, PHOTOMONTAGE, AND MODERNITY 93 NICHOLAS BAER POST-PERSPECTIVAL AESTHETICS IN 'THE CABINET OF DR. CALIGARI' THE NEW BERLIN 1912 – 1932 101 I URBAN AVANT-GARDE & WAR 125 II REVOLUTION & UTOPIA 167 III BERLIN MYTH 217 IV CRISIS 239 APPENDICES CAT. 1 PAUL KLEE Mit dem Kometen (With the Comet), 1917 Watercolour on gypsum-based cotton gauze, Indian ink on cardboard; 24.5 × 22 cm Royal Museums of Fine Arts of Belgium, Brussels, inv. 11191 PREFACE On 11 November 1918, the armistice signed by the German delegation in Compiègne brings an official and definitive end to hostilities on the Western Front. For Belgium, this means liberation from just over four years of German occupation. The idea of creating​​ a new world haunted young Germans—just as much as it did the young Belgian generation—and their eyes now turned toward Germany and its young capital, Berlin. The current exhibition, which is part of commemorations for the Great War, focuses more specifically on the period when the metropolis of Berlin was seen as a symbol for renewal, and on a post- war era where “everything seemed possible”.
    [Show full text]
  • Vlamingen in De Wereld
    België - Belgique P.B./P.P. 9000 Gent X BC 6708 Driemaandelijks tijdschrift van de Stichting Vlamingen in de Wereld LENTE 2015 I NR 89 IW V VlamingenIN DE WERELD gsnummer P109064 I Afgiftekantoor Gent X Sociaal project gebouwd op surfpassie Verantwoordelijke uitgever: Koen Van Der Schaeghe I Zenith-gebouw Koning Albert II laan 37 1030 Brussel erkennin Onderwijs voor ontwikkeling | Wereldexpo Milaan | Loopbaanonderbreking | Meneer koffie adv Edufax A4 VIW voorbeeldje.pdf 1 04-03-15 08:58 Dan is he o t nderwijs al goed g eregeld! Succesvol instromen “Onze dochter heeft haar begint met NTC-online eerste rapport, sinds onze C terugkeer uit het buitenland, M van haar nieuwe school De basis voor een succesvolle terugkeer in het Vlaamse Y ontvangen en ze heeft het CM onderwijssysteem begint al tijdens het verblijf in het geweldig gedaan. MY buitenland met NTC-online van Edufax. CY Wat ik je dus eigenlijk wil CMY vertellen, is dat ik een absolute K Meer weten? Neem dan contact met ons op. Op basis van voorstander ben van het ruim 20 jaar expertise en innovatie in afstandsonderwijs Edufax systeem en dat het in krijgt u het allerbeste advies en uw kinderen het allerbeste ons geval bewijst te werken. onderwijs! Naomi “ T +31 (0)40 204 74 70 • E [email protected] Edufax is member of www.edufax.nl Vrij verkeer Als je uit Vlaanderen komt, kan je het ver brengen. Zolang je legde nadruk op het belang van het beschermen van rechten maar weg geraakt. VIW-voorzitter Jan Van Doren duidt het van Europese expats zoals mobiliteit, stemrecht, dubbele COVERSTORY twee pagina’s verder mooi en enthousiast.
    [Show full text]
  • CENTURY of BELGIAN PAINTING from FELICIEN ROPS to JAN FABRE Frissiras Museum Presents an Overview of Belgian Painting from the End of the 19Th Century up to Our Days
    CENTURY OF BELGIAN PAINTING FROM FELICIEN ROPS TO JAN FABRE Frissiras Museum presents an overview of Belgian painting from the end of the 19th century up to our days. The exhibition was inaugurated by the Ambassador of Belgium in Greece, His Excellency Mr. Claude Rijmenans, and is open to the public from Thursday 18 th March 2004. Belgian art, far removed from theoretical bombast, it has built its tradition upon simple formulations. Inescapably at the centre, painting endures either as matter, gesture or reflection. This exhibition, based on private collections, is an invitation to look, testifying the traditional opulence of Belgium. Land of collectors, Belgium never ceases to enrich its culture with collections that atest at once to the high standard of creation and the generosity of an active society that continually seeks its identity in art. As the curator of the exhibition and professor of the University of Brussels, Mr Michel Draguet commends in the bilingual catalogue that accompanies the exhibition: "Rops, Khnopff and the Symbolists provided the basis of reflection that stimulated the Surrealists - Magritte first - as well as their contemporary descendants. What significance should be attributed to representation as a form of language? Symbolism's exploratory language of the real; Expressionism's language that tells of modern angst; the Surrealist tongue as an emancipatory tool via the imagination; then with the first wave of Abstracts, language as instrument for the creation of a new world; and lastly with Cobra group, language avowed to gestural freedom. Like so many trails for so many truths that ultimately defer to the modesty of the gaze".
    [Show full text]
  • Edgard Tytgat
    PRESS FILE Leuven, 7 december 2017 EDGARD TYTGAT Memory of a beloved window 08.12.17 >< 08.04.18 Introduction Memory of a Beloved Window is the title of a small wooden sculpture, in which Edgard Tytgat etched the image of his daughter who was never born. That same window was also one of the artist’s favourite motifs. He depicts things non-judgmentally and invites you to see reality from his bittersweet perspective. To express it in his own words: “I love windows. If the window is open while I work, I feel a completely different life coming to me from outside. It from there, the upstairs window, that I tried to reproduce all the impressions that overwhelmed me. You see all the beautiful things that the window offered me. It is through the window that I learned to love light, fairs, children, and all the things that cause a commotion.” A new perspective This exhibition (re)constructs a new narrative about Edgard Tytgat. Its starting point is the mysterious oeuvre catalogue that the artist compiled with Albert Dasnoy, at the end of his life. It is full of tiny black and white photos. They frequently feature children, young women, nuns, monks, musicians, carnies, fairs, the circus, Greek myths, or biblical stories; all subjects, titles, and characters that cannot easily be deciphered at first glance. Curator Gust Van den Berghe: Tytgat painted fairy tales without a plot. When you survey his works, you soon see sections of larger, invisible stories. As I said, they are plotless, but there are too many overlaps for it to be a coincidence.” Curator Peter Carpreau: “This complex and refined method makes Tytgat’s inherent legacy immense.
    [Show full text]
  • When Art Takes the Metro
    WHEN ART TAKES THE METRO... Get ready to take a unique journey into the heart of the largest underground art gallery in Brussels. This artistic route will take you on a journey of discovery of more than 90 works of art that have been adding the personal touch to the Brussels metro for more than 40 years. The fruit of the imagination and work of artists from various backgrounds, these works are unique thanks to their style, materials, volumes, the images they evoke and the atmosphere they create, like springboards for wandering spirits. In the early 1960s, when a metro project Its recommendations are submitted became a reality in Brussels, the designers to the Regional Minister for Mobility imagined this new underground and Public Works, who also proposes network as an open, lively and original artworks to be incorporated in the metro. environment where Art also needed a More than 90 works of art currently place. All the stations had to be different, decorate the platforms, mezzanines either by their design or by the nature of and corridors, and they breathe life into their finishing, while ensuring uniformity the 69 metro and pre-metro stations. in their decoration. As such, passengers All genres are represented: paintings, see a series of stations pass by, each with sculptures, photographs, stained glass, its own atmosphere and identity, in which etc., as well as all materials: from canvas they nonetheless find constant elements to bronze and from wood to glass, not that help them find their bearings. forgetting steel. Shortly before the first pre-metro stations Consciously or otherwise, tens of were commissioned at the end of 1969, thousands of passengers rub shoulders an Artistic Committee was set up.
    [Show full text]
  • Brussels Collector/Dealer Gustave Coûteaux, Mark the Highpoint of His Oeuvre
    With the Renaissance, drawing emphatically developed as the basis of all is what unites the artist’s active imagination with technical execution. The art and at the same time as an individual means of expression. The unique passionate artist is completely filled with his subject, totally absorbed by sketchbook replaces the medieval model book, the new art liberates itself it and does not rest until he has given it artistic form. Hegel’s particular PREFACE from codified visual language. Gradually drawings are no longer considered appreciation for drawing is hardly surprising: ‘(...) drawings are of as mere aids but as fully-fledged art works. They are valued as witnesses especially utter importance, in the sense that one perceives the wonder of — Jan Ceuleers to moments of discovery that the viewer can re-experience. Drawings are how the whole mind immediately passes into the skill of the hand, that so direct expressions of creative genius; they are the handwriting that reveals fluently, unsought for, produces an instantaneous representation of what is the artist’s true nature. The great appreciation for drawings as the visual present in the artist’s mind.’ result of the ‘first idea’ leads in the Romantic era to a preference for the fragment containing the visible genesis of the art work, unencumbered by This ensemble of drawings offers a privileged look at all stages of the its completed state. Over time, the importance attached to drawings only creative process, from the first, rapid sketch to the fully elaborated drawing increases. ‘What we love in drawings is the initial trace, the original stroke, that stands on its own.
    [Show full text]