This beautiful and important book highlights the collection of European drawings at the Yale University Art Gallery, one of America’s premier university museums. From intimate studies to exquisite finished compositions, this selection of works documents the history of European drawing practices beginning with late-medieval model books and progressing to the verge of the modern period. The accompanying text―written by a team of scholars―offers a unique introduction to various critical and technical aspects of the study of master drawings, brought to life through drawings from a range of national schools and in a variety of media. Among the drawings examined in this handsomely produced volume are an animated pen and ink sketch by Giulio Romano, a pastoral landscape by Claude Lorrain, a forceful and humorous caricature by Guercino, a scene from the epic poem Orlando Furioso by Jean-Honoré Fragonard, and a delicate portrait by Edgar Degas.

Master Drawings from the Yale University Art Gallery

Arts & Photography

Boorsch, Suzanne

Marciari, John J.

History & Criticism

Yale University Press

Richard L. Feigen has amassed a collection of Italian paintings that is widely admired for its depth and quality, especially for the works it features by the principal masters of the early Italian Renaissance. This beautifully illustrated catalogue of the complete collection presents rare masterpieces by artists from Bernardo Daddi to Fra Angelico, Orazio Gentileschi€™s Danaø«, Annibale Carracci€™s Virgin and Child, and precious, small-scale coppers by major Mannerist and Baroque masters.Italian Paintings from the Richard L. Feigen Collection catalogues more than fifty major works from the 14th to the 17th century, and is the first publication of this remarkable and important collection.

Italian Paintings from the Richard L. Feigen Collection

Kanter, Laurence

Francesco Vanni (1563/64–1610) was the most important artist in Siena at the turn of the 17th century. His works combine dazzling technical virtuosity and brilliant coloring with the naturalistic approach employed by his more famous contemporaries Annibale Carracci and Caravaggio. He painted altarpieces for every significant church in Siena, as well as for Saint Peter’s and other churches in Rome. 
Beautifully illustrated and featuring new research, Francesco Vanni: Art in Late Renaissance Siena is the definitive resource on the artist. John Marciari investigates Vanni’s career, including his connections with patrons and his adaptation of traditional subject matter to serve the Counter-Reformation. Suzanne Boorsch explores Vanni’s engagement with printmakers and the dissemination of his compositions through prints. The catalogue examines more than 80 paintings, drawings, and prints, including the Madonna della Pappa, one of Vanni’s masterpieces, acquired by the Yale University Art Gallery in 2003.

Francesco Vanni: Art in Late Renaissance Siena

Jacopo Tintoretto (1518–1594) was among the most distinctive artists of the Italian Renaissance. Yet, although his bold paintings are immediately recognizable, his drawings remain unfamiliar even to many scholars. Drawing in Tintoretto’s Venice offers a complete overview of Tintoretto as a draftsman. It begins with a look at drawings by Tintoretto’s precedents and contemporaries, a discussion intended to illuminate Tintoretto’s sources as well as his originality, and also to explore the historiographical and critical questions that have framed all previous discussion of Tintoretto’s graphic work. Subsequent chapters explore Tintoretto’s evolution as a draftsman and the role that drawings played in his artistic practice―both preparatory drawings for his paintings and the many studies after sculptures by Michelangelo and others―thus examining the use of drawings within the studio as well as teaching practices in the workshop. Later chapters focus on the changes to Tintoretto’s style as he undertook ever larger commissions and accordingly began to manage a growing number of assistants, with special attention paid to Domenico Tintoretto, Palma Giovane, and other artists whose drawing style was influenced by their time working with the master. The book is published in conjunction with the exhibition Drawing in Tintoretto’s Venice, opening at the Morgan Library &amp; Museum, New York, in 2018 and travelling to the National Gallery of Art, Washington, in early 2019. All of the drawings in the exhibition are discussed and illustrated, and a checklist of the exhibition is also included in the volume, but the book is a far more widely ranging account of Tintoretto’s drawings and a comprehensive account of his work as a draftsman.

Drawing in Tintoretto’s Venice

Paul Holberton Publishing

Accompanying an exhibition of drawings by Guercino from the collection of the Morgan Library &amp; Museum, Guercino: Virtuoso Draftsman offers an overview of the artist’s graphic work, ranging from his early genre studies and caricatures, to the dense and dynamic preparatory studies for his paintings, and on to highly finished chalk drawings and landscapes that were ends in themselves. Giovanni Francesco Barbieri, known as Guercino (1591-1666), was arguably the most interesting and diverse draftsman of the Italian Baroque era, a natural virtuoso who created brilliant drawings in a broad range of media. The Morgan owns more than twenty-five works by the artist, and these are the subject of a focused exhibition, supplemented by a handful of loans from public and private New York collections, to be held at the Morgan in the autumn of 2019. This volume accompanies that exhibition. It includes an introductory essay on Guercino’s work as a draftsman followed by entries on the Guercino drawings in the Morgan’s collection. These include sheets from all moments of the artist’s career. His early awareness of the work of the Carracci in Bologna is documented by figures drawn from everyday life as well as brilliant caricatures; two drawings for Guercino’s own drawing manual are further testament to his interest in questions of academic practice. Following his career, a range of preparatory drawings includes studies made in connection with his earliest altarpieces as well as his mature masterpieces, including multiple studies for several projects, allowing the visitor to see Guercino’s mind at work as he reconsidered his ideas. The Morgan’s holdings also include studies for engravings as well as highly finished landscape and figure drawings that were independent works. Guercino: Virtuoso Draftsman continues a series of exhibition catalogues focused on highlights from the Morgan’s collection. Previous volumes include Power and Grace: Drawings by Rubens, Van Dyck, and Jordaens and Thomas Gainsborough: Experiments in Drawing, also published by Paul Holberton. While some of the Morgan’s Guercino drawings are well known, they have never been exhibited or published as a group, and the selection includes a number of new acquisitions.

Guercino: Virtuoso Draftsman

Individual Artists

Product Description 
This exhibition catalog explores the remarkable theatrical designs of Italy’s influential Bibiena family in the seventeenth and eighteenth centuries.\nFor nearly a century, members of three generations of the Bibiena family were the most highly sought theater designers in Europe. Their elaborate stage designs were used for operas, festivals, and courtly performances across Europe, from their native Italy to cities as far afield as Vienna, Prague, Stockholm, St. Petersburg, and Lisbon. Beyond these performances, the distinctive Bibiena style survives through their remarkable drawings.\nArchitecture, Theater, and Fantasy commemorates a group of Bibiena drawings from the collection of Jules Fisher, the Tony Award–winning lighting designer, gifted to the Morgan Library and Museum in New York. Accompanying the first US exhibition of these works in more than thirty years, these drawings demonstrate the range of the Bibienas’ output, from energetic sketches to detailed watercolors. Representations of imagined palace interiors and lavish illusionistic architecture illuminate the visual splendor of the Baroque period. 
 About the Author \nDiane Kelder is professor emerita of art history at the Graduate Center, City University of New York, and consulting curator of the Jules Fisher Collection at the Morgan Library and Museum.\nJohn Marciari is the Charles W. Engelhard Curator of Drawings and Prints and curatorial chair at the Morgan Library and Museum.\nLaurel Peterson, formerly the Moore Curatorial Fellow at the Morgan Library and Museum, is an independent scholar.\nArnold Aronson is professor of theater in the MFA Theatre Program at the Columbia University School of the Arts.

Architecture, Theater, and Fantasy: Bibiena Drawings from the Jules Fisher Collection

Aronson, Arnold

KELDER, Diane

Peterson, Laurel O.

A beautifully rendered book that is the most important study of Piranesi's drawings to appear in more than a generation. In a letter written near the end of his life, Giovanni Battista Piranesi (1720-78) explained that he left his native Venice because no patrons were willing to support "the sublimity of [his] ideas." Residing in Rome, he became internationally famous as a printmaker and designer, among other numerous pursuits. While Piranesi's notoriety stems from his etchings, he was also an accomplished draftsman who first developed much of his work in drawings. Sublime Ideas is the most comprehensive, updated study of Piranesi's drawings with over two hundred illustrations offering insight into his life and creative endeavors. Coinciding with the Morgan's Spring 2023 exhibition, Sublime Ideas diligently surveys the artist's enduring work as an artistic force.

Sublime Ideas: Drawings by Giovanni Battista Piranesi

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