A new perspective on the brilliance of one of Western art’s most celebrated visionaries through an esteemed collection of drawings The works of Michelangelo (1475–1564) remain an enduring source of awe and fascination more than 500 years after his death. Michelangelo:Mind of the Master offers a new context for understanding the drawings of one of art’s greatest visionaries. Through a group of drawings held since 1793 in the Teylers Museum and once in the eminent collection of Queen Christina of Sweden (1626–1689), this book sheds new light on Michelangelo’s inventive preparations for his most important commissions in the realms of painting, sculpture, and architecture. Among other works, the volume features preliminary designs for some of the artist’s best-known projects, including the Sistine Chapel ceiling and the Medici Chapel tombs. Essays in the volume further explore the history and fate of Michelangelo’s drawings during his life, as well as the role of Queen Christina and her heirs in amassing a group of drawings that are among the best preserved by the master today.

Michelangelo: Mind of the Master

Arts & Photography

Peters, Emily J.

Brooks, Julian

History & Criticism

The Cleveland Museum of Art

Master drawings provide the sense of being close to the artist, of seeing inspiration and creativity firsthand. They allow a glimpse behind the scenes, beyond the final product the artist wanted to show, enabling understanding of the human struggle involved, false starts and failed ideas included. This absorbing new book allows the centuries of time between us and the masters to drop away, putting the reader right beside these tremendous artists as they work. Most drawings served only a transitory role in the process of preparing to make a painting or other work of art, although some were made as impressive finished works in themselves. While those were carefully preserved, many other sheets were only kept in the artists workshop because they represented useful tools for future commissions, while still others might have been rescued from the studio floor by an assistant. Through this striking book, readers gain insight into why artists made drawings, how they used the media available to them including red chalk, watercolour, pen and ink, and pastel and their techniques, such as hatching, stumping, squaring, and heightening. This beautiful book has wide appeal, but will be invaluable for art students, practicing artists, and those who study art and art history.

Master Drawings Close up /anglais

Reference

BRITISH MUSEUM

Called the "Rembrandt of the South," Giovanni Francesco Barbieri, il Guercino (1591-1666) was one of the most versatile and accomplished Italian draftsmen of the seventeenth century. His drawings are among the most instantly appealing of those of any artist. This book investigates the nature of this appeal and looks at what makes Guercino such an extraordinary draftsman for his period. It examines his ways of working, choices of subject matter, drawing techniques, and media--aspects of his work that have never been studied so directly before. Such an innovative approach yields scholarly insights, as well as an accessible and appealing volume. The book accompanies an exhibition of Guercino drawings from the collections of the Courtauld Institute and the J. Paul Getty Museum, on view at both venues (Los Angeles, October 2006; London, February 2007).

Guercino: Mind to Paper (J. Paul Getty Museum)

Oxford University Press

One of the most important series of drawings in late-sixteenth-century Italian art—the twenty large sheets by Federico Zuccaro (ca. 1541–1609) showing the early life of his older brother, Taddeo (1529–1566)—was acquired by the J. Paul Getty Museum in 1999. Never fully published, the series shows Taddeo’s trials and tribulations as a young artist trying to achieve success in Renaissance Rome, and his eventual triumph. The drawings contain charming details of the life of a struggling artist and reveal much about the younger brother, Federico, a successful artist in his own right. This volume—published to coincide with an exhibition at the J. Paul Getty Museum to be held from October 2, 2007, to January 6, 2008—presents Federico Zuccaro’s twenty drawings and accompanying poems in their historical and artistic context and will be of interest to art historians and general readers alike. Of particular importance is its examination of the role of the copying of masterworks in the training of young Renaissance artists.

Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome (Getty Trust Publications, J. Paul Getty Museum)

J.paul Getty Museum

Bernini and the Birth of Baroque Portrait Sculpture

Gian Lorenzo Bernini was the greatest sculptor of the Baroque period, and yet--surprisingly--there has never before been a major exhibition of his sculpture in North America. Bernini and the Birth of Baroque Portrait Sculpture--on view from August 5 through October 26, 2008, at the J. Paul Getty Museum and from November 28, 2008, through March 8, 2009, at the National Gallery of Canada, Ottawa--showcases portrait sculptures from all phases of the artist's long career, from the very early Antonio Coppola of 1612 to Clement X of about 1676, one of his last completed works. Bernini's portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. Bernini's ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, such as Alessandro Algardi, Giuliano Finelli, and Francesco Mochi. Bernini and the Birth of Baroque Portrait Sculpture is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries. Together they demonstrate not only the range, skill, and acuity of these masters of Baroque portraiture but also the interrelationship of the arts in seventeenth-century Rome.

FRANKLIN, David

Seydl, Jon L.

Hess, Catherine

Desmas, Anne-Lise

Bacchi, Andrea

Bachi, Andrea

Montagu, Jennifer

Ostrow, Steven F.

The purpose of this volume is to introduce the reader to the pleasure of looking at master drawings. Through forty-five spectacular works of art, each shown in full and with an enlarged detail, the book simulates the experience of looking at a drawing through a magnifying glass: we can see the techniques and materials used and get close to the artist's creativity. They are roughly ordered by date and were chosen for inclusion because, in addition to yielding beautiful details, they encompass a wide variety of media and techniques. Accompanying short texts highlight particular aspects of each work; italicized technical terms are explained in an accessible and informative glossary at the back. Works by some of the greatest masters of the craft--Leonardo da Vinci, Dürer, Raphael, Rembrandt, Ingres, Goya, Seurat, and Van Gogh--are included. The reader will gain insights into why artists made drawings, how they used the media available to them--including red chalk, watercolor, pen and ink, and pastel--and their techniques, such as hatching, stumping, squaring, and heightening. This beautiful and unpretentious book will have a wide appeal and will be especially invaluable for art students, practicing artists, and those who study art and art history.

Master Drawings Close-Up

The great Renaissance artist Andrea del Sarto (1486–1530) rivals Leonardo da Vinci as one of history’s most accomplished draftsmen. Moving beyond the graceful elegance of his contemporaries, such as Raphael and Fra Bartolommeo, he brought unprecedented realism to his drawings through the rough and rustic use of chalk in his powerfully rendered life and compositional studies. With an immediacy few other Renaissance artists possess, del Sarto’s work has proven to be inspirational and compelling to later audiences, with admirers such as Degas and Redon. This lavishly illustrated book reveals del Sarto's dazzling inventiveness and creative process, presenting fifty core drawings on paper together with a handful of paintings. The first publication to look to del Sarto’s working practice through a close examination of his art from across all the world’s major collections, this volume analyzes new studies of his panel underdrawings as well. The depth and breadth of its research make this book an important contribution to the study of del Sarto and Florentine Renaissance workshop practice. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum from June 23 through September 13, 2015, and at the Frick Collection in New York from October 6, 2015, though January 10, 2016.

Andrea del Sarto: The Renaissance Workshop in Action

For centuries Italy has fascinated travelers and artists. From the crumbling ruins of ancient Rome to the crystal-clear light of Venice, artists have found inspiration not only in the cities but also in the countryside and in the deep history and culture. From as early as the 1500s, artists visiting from France, England, the Netherlands, and Germany drew sketches to preserve vivid memories, often creating work of extraordinary atmosphere and beauty in the process. A growing number of tourists in the subsequent centuries fueled a further demand for souvenir views, spurring local artists to craft their own masterpieces. This lovely book is a narrated assemblage of some of these beautiful views, which transport the reader effortlessly to Italy, rekindling memories, setting intentions, or provoking curiosity. The text provides new insights into the topographical renditions of Italian scenes over the centuries, while compelling illustrations of works from the Getty collection by artists such as Richard Parkes Bonington, J. M. W. Turner, Claude Lorrain, Giovanni Battista Lusieri, Canaletto, and many more capture the essence and spirit of Italy.

The Lure of Italy: Artists’ Views

A richly illustrated, comprehensive introduction to the visionary British artist William Blake. &nbsp; Celebrated for his boundless imagination and unique vision, William Blake (1757-1827) created some of the most striking and distinctive imagery in art, often combining his poetry and visual images on the page through innovative graphic techniques. He has proven an enduring inspiration to artists, musicians, poets, and performers worldwide and a fascinating enigma to generations of admirers. &nbsp; Featuring over 130 color images, this catalogue brings together many of Blake's most iconic works. Organized by theme, it explores Blake's work as a professional printmaker, his roles as both painter-illustrator and poet-painter, his relationship to the medieval, Renaissance, and Baroque artists that preceded him, and his legacy in the United States. It also examines his visionary prophetic books, including all eighteen plates of America a Prophecy. This volume is published to accompany an exhibition coming soon to the&nbsp;J. Paul Getty Museum at the Getty Center.

William Blake: Visionary

Adam, Edina

This volume looks at the techniques and materials that artists have utilized since the Renaissance to create spectacular light effects in drawings. The treatment of light and shadow is one of the building blocks of drawing. From techniques such as highlights and reserves, to material selection and the creation of translucent tracing paper, to the use of light as a medium for viewing artworks, artists for hundreds of years have found innovative and dazzling ways to create light on a sheet of paper. This publication examines the central relationship between paper and light in the world of drawings in western European art from the Renaissance to the twentieth century. Focusing on drawings from the collection of the J. Paul Getty Museum, as well as works from the British Museum, Musée du Louvre, and others, and featuring masterful works by such artists as Parmigianino, Leonardo da Vinci, Nicolas Poussin, Odilon Redon, Edgar Degas, and Georges Seurat, Paper and Light will entice readers to look longer and more closely at drawings, deriving an even deeper appreciation for the skill and labor that went into them. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 15, 2024, to January 19, 2025.

Paper and Light: Luminous Drawings

Sullivan, Michelle

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