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Period: 18th Century and Earlier
Study of a Seated Satyr, Seen from Behind
Located in Paris, Île-de-France
Domenico Maria Canuti (1625–1684)
Study of a Seated Satyr, Seen from Behind
Red chalk on laid paper with watermark
39 × 26 cm
Provenance:
Private Collection, France
Note:
A large ...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk
Academy Study of a Seated Male Figure Seen from the Back
By Charles Joseph Natoire
Located in Paris, Île-de-France
Attributed to Charles-Joseph NATOIRE (Nîmes 1700 – 1777 Gandolfo)
Academy Study of a Seated Male Figure Seen from the Back
(Youthful study executed around the 1720s–1730s, likely du...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk
French Neo classical school, Allegory of Time, original drawing
Located in Paris, FR
Neo classical school, France, end of the 18th Century
Allegory of Time,
Pen and black ink on paper, gray ink wash
30.5 x 19 cm
irregularly shaped
In g...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
India Ink
Old Master French Sanguine Drawing of Hercules
Located in Pasadena, CA
Old Master, French School red chalk drawing on paper
Done in Sanguine on paper the nude appear like Hercule . The feel and look of the works while academic studies are very detailed ...
Category
Baroque 18th Century and Earlier Nude Drawings and Watercolors
Materials
Archival Paper
Life study of a male nude in repose - European School, late 18th Century
Located in Middletown, NY
European School, late 18th century. Red chalk with primo pensiero in graphite on cream laid paper, 8 1/2 x 11 1/2 inches (215 x 293 mm). Scattered light handling wear and multiple s...
Category
Naturalistic 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk, Laid Paper, Pencil, Graphite
Three drawings by François Boucher in a mounting by Jean-Baptiste Glomy
Located in PARIS, FR
We would like to thank Juliette Parmentier-Courreau of the Custodia Foundation for her welcome and support during the consultation of Glomy’s Journal des Ouvrages.
This spectacularly large "feuille de desseins ajustés" commissioned by François Boucher from Jean-Baptiste Glomy is emblematic of the painter's art and mastery of rocaille. It is also fully representative of the taste of this period in the field of decorative arts. The largest of these three drawings, placed at the bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York.
1. François Boucher, the master of French rocaille
The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting – history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. He had been trained as an engraver, and the skills of a draftsman, which he imbued in the studio of Jean-Francois Cars (1661 – 1738), stood him in good stead throughout his career; his delightful drawings are one of the most sought-after aspects of his oeuvre.
As a student of Francois Lemoyne (1688 - 1737), he mastered the art of composition. The four years he spent in Italy, from 1727-1731, educated him in the works of the masters, classics and history, that his modest upbringing had denied him.
On his return to Paris in 1734, he gained full membership of the Royal Academy of Painting and Sculpture with his splendid Rinaldo and Armida (Paris, Musée du Louvre). Although, throughout his career, he occasionally painted subjects taken from the Bible, and would always have considered himself first as a history painter, his own repertoire of heroines, seductresses, flirtatious peasant girls and erotic beauties was better suited to a lighter, more decorative subject matter. His mastery of technique and composition enabled him to move from large scale tapestry...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk, Ink
Leaning Nude Man (recto); Kneeling Man, Hands Tied Behind His Back (verso)
By Giovanni Francesco Barbieri (Il Guercino)
Located in Paris, Île-de-France
GIOVANNI FRANCESCO BARBIERI, known as GUERCINO
(1591-1666)
Leaning Nude Man (recto); Kneeling Man, Hands Tied Behind His Back (verso)
Black chalk heightened with white on light blu...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk, Charcoal
Study after Farnese Hercules
Located in Paris, Île-de-France
Study after the Farnese Hercules
Giovan Ambrogio Figino (1548-1608)
Black chalk on blue-prepared paper 33 x 23 cm
Provenance: Tajan, Drouot Paris, 23 November 2001, lot 11; Private ...
Category
Renaissance 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk
Study of Feet and a Figure Sketch
Located in Paris, Île-de-France
Attributed to Jacob JORDAENS (Antwerp 1593–1678)
Study of Feet and a Figure Sketch
Red and black chalk on laid paper
25.9 × 18.4 cm (10¼ × 7¼ in.)
Minor losses, folds, and slight s...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk
Sleeping Boy - Drawing by Giovanni Fontana - 16th Century
Located in Roma, IT
Sleeping Boy is an original modern artwork realized in the 16th century by Giovanni Fontana.
Ivory colored sheet attached on an ivory colored cardboard (...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Paper, Pencil
Italian School, late 16th century - Head of a Man and Écorché Studies of Arms
Located in Paris, Île-de-France
Italian School, late 16th century
Head of a Man and Écorché Studies of Arms
Red chalk on laid paper,
21 x 11 cm
Provenance:
Collection of Michael Jaffé CBE (1923–1997), English art historian and Director of the Fitzwilliam Museum, Cambridge
Private collection, France
This drawing, attributed to the Italian School of the late 16th century, demonstrates the influence of Michelangelo’s approach to anatomy and expression. The sheet combines two distinct studies: an anatomical rendering of arms in the écorché technique, focusing on the musculature and skeletal details, and a head of a man, drawn with careful attention to light and shadow. The use of red chalk lends the work warmth and immediacy, qualities often associated with Renaissance studies of the human form.
The écorché studies reflect the Renaissance fascination with anatomy as both an artistic and scientific pursuit. The detailed depiction of the musculature suggests the artist’s interest in understanding the mechanics of the body, a practice heavily influenced by Michelangelo’s drawings...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk
Louis-Félix de La Rue (1730-1777) A Mythological scene, drawing
Located in Paris, FR
Louis-Félix de La Rue (1730-1777)
A Mythological scene
Pen and black ink on paper
Bears an old inscription with the name of the artist on the lower left bo...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Ink
Study of a Fate at mid-body, a red chalk attributed to Giovanni da San Giovanni
Located in PARIS, FR
This spectacular red chalk drawing depicts an elderly woman, her eyes bulging, her hand stretched out towards the sky. This disturbing character, who seems close to dementia, and the elongation of her arm with its Mannerist overtones, plunge us into the Florentine artistic milieu of the first half of the 17th century. The proximity of this drawing to some characters in the fresco in the Pitti Palace representing The Muses, Poets and Philosophers chased from Parnassus, the last masterpiece of Giovanni da San Giovanni, leads us to propose an attribution to this artist and a dating of around 1635-1636.
1. Giovanni da San Giovanni, the painter of contradiction
We take here the title of the monography dedicated to the artist by Anna Banti in 1977, which remains the reference book for this artist. The son of a notary, Giovanni Mannozzi, known as Giovanni da San Giovanni, abandoned his studies to go to Florence at the age of sixteen, where he entered the studio of Matteo Rosselli (1578 - 1650) around 1609 and enrolled in the Academy of Drawing Arts in 1612. Around 1615 he produced his first known works, mainly frescoes for the city's tabernacles. He became famous in Florence for his originality, combining an obsessive application to the study of drawing and the reading of poetry and history with a disheveled appearance. Between 1619 and 1620 he decorated the facade of the Antella Palace in Piazza Santa Croce, a decoration that still partly survives today.
The death of Cosimo II in 1621 put an end to the Florentine building activity and Giovanni da San Giovanni left for Rome to find other sponsors with the painter Francesco Furini...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk
Study after Michelangelo’s “The Last Judgment”
By Michelangelo Buonarroti
Located in New York, NY
Italian School, 16th Century
Provenance:
Private Collection, New York
This intriguing drawing is a study by an anonymous 16th-century Italian artist after a vignette in Michelangelo’s fresco of The Last Judgement in the Sistine Chapel. The altar wall of the Sistine Chapel was already richly decorated when Pope Clement VII commissioned Michelangelo to paint his Last Judgment...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Paper, Gouache
Louis-Félix de La Rue (1730-1777) Putti playing around a sculpture, drawing
Located in Paris, FR
Louis-Félix de La Rue (1730-1777)
Putti playing around a sculpture, a mythological scene
Pen and brown ink on paper
15.4 x 31 cm
In good condition
The ancient mount has has a smal...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Ink
Sketch front back neoclassicism Milanese caryatids of the 18th century
Located in Florence, IT
Double-sided sketch for the "Sala delle Cariatidi" of the Royal Palace in Milan.
The vibrant and intense brown ink sketch of these two female figures, executed by the Parma plastici...
Category
Other Art Style 18th Century and Earlier Nude Drawings and Watercolors
Materials
Paper, Ink
Untitled-055 Pastel Figure by Hans Burkhardt
Located in Hudson, NY
Hans Burkhardt frequently used live models for his figural pastels, which he maintained an interest in throughout his long career.
Untitled (1972)
Pastel on paper
25" x 20"
Signed a...
Category
American Modern 18th Century and Earlier Nude Drawings and Watercolors
Materials
Paper, Pastel
A Musical Party
Located in New York, NY
Provenance:
Dr. George Hamilton, Massachusetts; and by descent.
Private Collection, Ohio, until 2021.
Exhibited:
(Possibly) Clark Art Institute, Massachusetts (according to a handwritten inscription on the reverse).
This drawing by an anonymous, 16th-century German hand presents a delightful scene of nymphs—mostly nude but some draped with cloth—making music in an outdoor setting. The composition is executed within a roundel and centers on the harpsichord played by the figure seen from behind. She is accompanied by a host of other instruments, including horns, a harp, and a lira da gamba played by figures gathered nearby, several of which are positioned along the curved edges of the visual field. Two satyrs observe the merrymaking—one leans on the harpsichord while the other holds aloft a cup, presumably of wine, adding a bacchic element to the revelry.
The drawing was previously owned by Dr. George Hamilton, scholar of modern art and Director of the Sterling and Francine Clark Art Institute in Williamstown (1966–1977). Hamilton played...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Paper, Ink, Pen
Study in the Antique Style, a neoclassical drawing by Augustin Pajou
Located in PARIS, FR
In this lively and fresh drawing, probably taken from one of the artist's notebooks, Pajou presents us with a composition freely inspired by antiquity, as a souvenir of a visit to th...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Ink
Francesco Furini Sanguine Drawing before 1642
Located in Florence, IT
Preparatory Drawing (sanguine on paper, 42 x 28 cm) by Francesco Furini for the making of the Saint Sebastian, ordered by the prince Lorenzo de' Medic...
Category
Baroque 18th Century and Earlier Nude Drawings and Watercolors
Materials
Paper, Color Pencil
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Apollo and Daphne From Bernini Sculpture, Galleria Borghese, Rome - Original Ink
Located in Chicago, IL
Christopher Ganz
Apollo and Daphne From Bernini Sculpture, Galleria Borghese, Rome, 2014
Colored pens & chalk
11h x 7.50w in
27.94h x 19.05w cm
Frame: 16.25h x 14.25w in
CG0004
-ARTIST STATEMENT-
I depict my person in multiplicity with different selves representing dramatis
personae. My likeness is both implicit and symbolic in the portrayal of my
narrative; the drama involved in creating art and the artist’s role in society. I
use realism to invite the viewer into mysterious inner worlds that are layered
reflections of the outer. Dehumanizing environments are imbued with art
historical references as a critique of power structures. The artist is an
Everyman who is at odds with society and his self.
Visually my work is a celebration of society’s dark undercurrents and its
overlooked absurdities. I use charcoal and printmaking media as their
tenebrous values add a fitting metaphor. The nuances of light and shadow
seduce viewers into a world their better judgment would have them avoid.
This provokes a sense of disquietude that causes viewers to assess our world
through the austerity of a colorless, yet not humorless, light.
-BIO-
Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey, and Michael Mazur. Christopher is now an associate professor of printmaking and drawing at Indiana-Purdue University Fort Wayne. Christopher drawings are represented by Ann Nathan Gallery in Chicago, and he shows his prints across the nation.
-CV-
EDUCATION
MFA 2001 Printmaking Indiana University-Bloomington
BFA 1995 Drawing and Printmaking University of Missouri-Columbia
TEACHING/PROFESSIONAL EXPERIENCE
2002-13 Associate Professor, Printmaking and Drawing
Indiana University–Purdue University Fort Wayne (IPFW), Fort Wayne, IN
2002 Adjunct Professor: Lithography (instructor of record)
Indiana University-Bloomington
1998-00 Associate Instructor: Beginning Drawing (instructor of record)
Indiana University-Bloomington
1998 Artist’s Assistant, Assisted Distinguished Professor Emeritus Rudy Pozzatti in
the production of an intaglio edition, Bloomington, IN
SOLO OR SMALL GROUP EXHIBITIONS
2013 Multiplicities: Drawings and Prints by Christopher Ganz, Franklin College, Franklin, IN
Feb. 5 – Feb. 21
2012 Dramatis Personae: Drawings and Prints by Christopher Ganz,
University of South Carolina-Columbia, Jan 16. – Feb. 16, 2012
2011 Christopher Ganz; Prints and Drawing
Hendrix College, Hendrix, Arkansas, March 5 - 18
2009 Fall Season Exhibition, six drawings displayed
Ann Nathan Gallery, Chicago. Oct 16 – Nov. 24
South Bend Museum of Art Biennial 25 - regional juried exhibition for artists in all media,
six large drawings displayed; 14 artists selected from over 200 submissions; May 30-Aug. 23
Juror: William Lieberman, Director of Zolla/Lieberman Gallery, Chicago
2007 Christopher Ganz: Drawings, The Carnegie Visual and Performing Arts Center
Covington, KY, March 9 - April 6
Alter Egos: Drawings and Prints by Christopher Ganz
Trisolini Gallery, Ohio University, Athens, OH, Jan. 9 - Feb.17
2005 The Two-Way Mirror: Self - Portraits by Christopher Ganz
Fort Wayne Museum of Art, Fort Wayne, IN, Aug.20 - Oct. 23
2004 Works on Paper: Christopher Ganz and Paul Schumann
Robert E. Wilson Gallery, Huntington College, Huntington, IN, Sept. 2 - 25
2002 Images by Christopher Ganz - Visual Arts Gallery
Indiana University-Purdue University Fort Wayne, Fort Wayne, IN, Sept. 3 – Oct. 11
2001 M.F.A. Thesis Exhibition - School of Fine Arts Gallery
Indiana University, Bloomington, IN, March 27 - April 7
SELECTED ADJUDICATED OR INVITATIONAL GROUP EXHIBITIONS
2012
International Expositions of Sculpture Objects and Functional Art (SOFA) Chicago, Drawing,
“The Initiation” on display in Ann Nathan Gallery space, Nov. 2-4
Reverse Watching, Invitational Print Portfolio
Monoprint, “The Mind’s Eye" displayed at Mid America Print Council’s National
Conference, Southeast Missouri State, Cape Girardeau, MO, Nov. 1 – 3
Contemporary American Realism: Fort Wayne Museum of Art 2012 National
Biennial, Fort Wayne, IN, Aug.11-Oct. 28
32nd Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, April 13 – May 23
Juror: Ladislav Hanka, internationally exhibiting printmaker
International Expositions of Sculpture Objects and Functional Art (SOFA) New York, Park
Avenue Armory, Drawing, “The Enigma” on display in Ann Nathan Gallery space, April
20-23
Spring Group Show, drawings, “Checking Out” and “The Enigma” displayed, April – May 2
Ann Nathan Gallery, Chicago
2011
Prints U.S.A. 2011 – National Juried Exhibition
Springfield Art Museum, Missouri, Nov. 18 – Jan. 8
Juror: Elizabeth Wyckoff, Curator of Prints, Drawings & Photographs, St. Louis Art Museum
International expositions of Sculpture Objects and Functional Art (SOFA) New York,
Park Avenue Armory, Drawing, Checking Out on display in Ann Nathan Gallery
space, April 14-17
2010
Contemporary American Realism: Fort Wayne Museum of Art 2010 National
Biennial, Fort Wayne, IN, Sept. 3 – Nov. 7; two pieces accepted
Cultural Baggage, Invitational Print Portfolio
Intaglio print, Super-Heroes go to Hell, after Dore’ displayed at Mid America Print
Council’s National Conference, University of Minnesota Minneapolis, MN, Chicago, Oct.
13-16
Art Chicago: International Fair of Contemporary and Modern Art
Drawing, The Cyclops on display in Ann Nathan Gallery space, April 29 - May 2
30th Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, April 16 – May 26
Juror: Claudia Berlinski, Senior Lecturer of Printmaking at Akron University, Akron, OH
2009
Are you looking at me? Invitational Print Portfolio
Color lithograph, Open and Shut, displayed at IMPACT 6: International Print Conference
Centre for Fine Print Research, University of the West of England, Bristol, Sept. 16 – 19
Art Chicago: International Fair of Contemporary and Modern Art
Drawing, Self-Checkout on display in Ann Nathan Gallery space, May 1 – 4
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Intaglio print, Good Cop/Bad Cop displayed at Southern Graphics Council National
Conference, Columbia College, Chicago, March 25 – 29
Boston Printmakers 2009 North American Print Biennial – National juried
printmaking exhibition
Juror: Rebecca Waddell, Curator of Prints at the New York Public Library
Boston University’s 808 Gallery, Boston, MA, Feb. 15 – March 30
22nd Parkside National Small Print Exhibition - National Juried Exhibition
University of Wisconsin-Parkside, Kenosha, WI, Jan.18 - Feb. 19
Juror: Professor of printmaking at the University of Wisconsin - Parkside
Portraits and Beyond, Ann Nathan Galley, Chicago, IL, Jan. 9 - Feb 19 2008 Contemporary American Realism: Fort Wayne Museum of Art 2008 National
Biennial, Fort Wayne, IN, Sept13 – Nov. 2; two pieces accepted
28th Annual National Print Exhibition at Artlink - National Juried Exhibition
2008
Artlink Gallery, Fort Wayne, IN, April 11 – May 21
Juror: Mark Pascale, Printmaking Faculty, School of the Art Institute of Chicago and
Curator of Prints and Drawing, Art Institute of Chicago
“No Danger” - Invitational Portfolio
Folded paper airplane lithograph, “The Dream of Flight” displayed at Richmond
International Airport as part of the Southern Graphics Council National Conference
Virginia Commonwealth University, Richmond, VA, March 26 – April 26
21st Parkside National Small Print Exhibition - National Juried Exhibition
University of Wisconsin-Parkside, Kenosha, WI, Jan.20 - Feb. 21
Juror: Karla Hackenmiller, Printmaking Chair and Associate Professor, School of Fine
Arts, Ohio University
2007
Singularities – Invitational group exhibit
Joan Resnikoff Gallery, Roxbury Community College, Boston, MA
Nov. 2 – Dec. 17
Hong Kong Graphics Art Festival 2007: Crossing Boundaries - Invitational
international printmaking exchange exhibition
School of Design Gallery, Hong Kong Polytechnic University, Kowloon, Hong Kong,
China, Nov. 1 – Nov. 16
27th Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted
Award Selector: Brett Colley, Assistant Professor of Art and Design, Grand Valley
State University
Boston Printmakers 2007 North American Print Biennial – National juried
printmaking exhibition
Boston University’s 808 Gallery, Boston, MA, Feb. 18 - April 1
Juror: Judith B. Hecker, Assistant Curator, Department of Prints and Illustrated Books,
The Museum of Modern Art, New York
2006
The Printed Image: The First Biennial Midwestern Graphics Juried Exhibition
National Juried Printmaking Exhibition
Alice C. Sabatini Gallery, Topeka & Shawnee County Public Library, Topeka, KS
Aug. 11 - Sept 15
Juror: Karen Kunc, Professor of Printmaking/Book Arts, University of Nebraska- Lincoln
2006 National Contemporary American Realism: Fort Wayne Museum of Art's 2006
Biennial, Fort Wayne, IN, June 10 - Aug. 20; two pieces accepted
26th Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted
Award Selector: Carolyn Autry, artist and Associate Professor of Art and Art History
at the University of Toledo
19th University of Dallas Print Invitational - Traveling national invitational exhibition
Haggerty Gallery, University of Dallas, Irving TX, Jan. 28 – March 6 three pieces accepted
Texas A&M University – Corpus Christi, TX, Feb. 1 – March 9, 2007
Juror: Juergen Strunck, Professor of Art, University of Dallas
A Mammalian Future? - Invitational Portfolio
Intaglio print Jonas Ark displayed at Southern Graphics Council National Conference
University of Wisconsin-Madison, University of Wisconsin-Madison, April 5 – 9
Paper in Particular - National Juried works on paper exhibition
Larson Gallery, Columbia College, Columbia, MO, Feb. 5 - March 5; two pieces
accepted. Juror: David Morrison, Professor of Printmaking, Herron School of Art and
Design, Indianapolis, IN
19th Parkside National SmallPrint Exhibition - National Juried Exhibition
University of Wisconsin-Parkside, Kenosha, WI, Jan.15 - Feb. 16
Juror: Rudy Pozzatti, Professor Emeritus, Indiana University - Bloomington
2005
18th Parkside National Small Print Exhibition - National Juried Exhibition
University of Wisconsin-Parkside, Kenosha, WI, Jan.14 - Feb. 22
Juror: Karen Kunc, Professor of Printmaking/Book Arts, University of Nebraska-Lincoln
2004
Exchange! A Survey of International and National Exchange Print Portfolios
Visual and Performing Arts Center, Main Gallery, Purdue University, Feb. 1 - 15
Juror: Kathryn Reeves, P rofessor of Art, Purdue University
2003
23rd Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, May 16 - July 2, 2003
Border to Border – National Juried Drawing Exhibition
Trahern Gallery, Austin Peay State University, Clarksville, TN, March 3 - 30
Juror: Jim Cantrell, independent studio artist, Bardstown, KY
On/Of Paper – National Juried Exhibition
Clyde Snook Gallery, Adams State College, Alamosa, CO, March 3 - April 11
Juror: Dale Leys, Professor of Drawing, Murray State University, Murray, KY
Emerging Artists 2003 – National Juried Exhibition
Limner Gallery, New York, NY, Feb.12 – March 1
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Paper, Chalk, Ink
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Old Masters 18th Century and Earlier Nude Drawings and Watercolors
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Conté, Charcoal, Archival Paper, Graphite
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Located in Forest Hills, NY
“Pleasure Principle”, tempera pencil charcoal on blue paper
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This bold and expressive dra...
Category
Contemporary 18th Century and Earlier Nude Drawings and Watercolors
Materials
Ink, Tempera, Archival Paper
Previously Available Items
A spectacular Study of a sleeping nude Man by Pompeo Batoni (1708 - 1787)
Located in PARIS, FR
The attribution to Pompeo Batoni has been confirmed by Professor Francesco Petrucci based upon a photography of the artwork.
This impressive study of a nude man belongs to a series ...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Paper, Chalk
Satyr conversing with a Nymph, a drawing attributed to Claude Mellan
By Claude Mellan
Located in PARIS, FR
Provenance: Collection from central Italy in the 17th century (Stamp - probably L. 3900 - on the front, top left)
Sir Joshua Reynolds (1723 - 1792), stamped lower right (L. 2364)
This mythological drawing from the collection of Sir Joshua Reynolds has long been attributed to Pietro da Cortona, as evidenced by the inscriptions at the bottom and on the reverse. While the Italian collection stamp (which predates Reynolds') suggests that this drawing was executed in Italy in the 17th century, it seems to us to be much closer to the drawings produced in Rome in the entourage of Simon Vouet. Its numerous hatchings, evocative of burin work, and its luminous composition lead us to suggest an attribution to Claude Mellan, who befriended Vouet on his arrival in Rome in 1624.
1. The stay in Vouet's studio, an important phase in Claude Mellan's training
Claude Mellan was born on May 23, 1598 in Abbeville, where his father worked as a boilermaker and copper planer. In 1615, at the age of 17, he was apprenticed to Jean V Leclerc, a mediocre Parisian engraver. Nine years later, in 1624, he left for Rome with the support of Provencal scholar Nicolas-Claude Fabri de Peiresc.
Having established contact with the engraver Francesco Villamena (who died two months after his arrival in Rome), Mellan quickly made friends with the painter Simon Vouet, then at the height of his reputation in Rome thanks to his recent appointment as director of the Accademia de San Luca. Simon Vouet and Gian Lorenzo Bernini (known as Le Bernin...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk
H 12.25 in W 16.75 in
Bartolomeo Passarotti (1529-1592) - Study Of Two Legs
Located in Paris, Île-de-France
BARTOLOMEO PASSAROTTI
(Bologna 1529 - 1592)
Study of two legs
Pen and brown ink, over black chalk, on paper
34,5 x 21,5 cm
Bears lower left the collector mark of Maurice Marignane ...
Category
Renaissance 18th Century and Earlier Nude Drawings and Watercolors
Materials
Ink
H 13.39 in W 8.27 in
Untitled (Standing Female Nude)
Located in Fairlawn, OH
Untitled (Standing Female Nude)
Graphite on paper, c. 1930
Signed bottom right: Lorski (see photo)
Sheet size: 9 5/16 x 5 13/16 inches
From a sketchbook created while the artist was working in Paris
Condition: Good
Thin spots verso from previous mounting
Soft vertical fold running across image
Barely visible on recto
Provenance: Estate of the Artist
Dawson's Auctioneers and Appraisers, 2001
Amity Art Foundation
Boris Lovet-Lorski
Lithuanian/Russian/American
1894-1973
Sculptor, painter, and printmaker, Boris Lovet-Lorski was born in Lithuania in 1894. His mother died when he was age three. His father was affluent and owned real estate. Boris grew up in a privileged environment. He studied architecture and then fine arts at the Imperial Academy of Art in Petrograd, Russia (now Saint Petersburg). Following the revolution in 1917 and its aftermath, Boris immigrated to Boston to live with his brother. In the 1920’s, his stylized, Art Deco inspired sculptures, lithographs, and paintings proved to be popular among the American elite. He exhibited frequently, holding his first solo exhibition in Boston, 1920. In the following years, Boris exhibited in New York at Marie Sterner Gallery, Jacques Seligmann Galleries and Wildenstein and Company. He lived in Paris from 1926 to 1932 where he befriended Joseph Hecht, and was exposed to the works of Pablo Picasso, Ossip Zadkine, Contantin Brancusi and Aristide Maillol. In 1932 he returned to America where he became a citizen later in the decade.
Lovet-Lorski exhibited in the United States, South America, Europe and Asia. He was a member of the Society of Independent Artists (New York), the National Academy of Design (New York), and the Lotos Club (New York), as well as several Parisian salons. His work is in the permanent collections of numerous museums including the Musée Luxembourg, Bibliotèque Nationale, and the Petit Palais in France, the British Museum in London, the Metropolitan Museum in New York, the National Gallery in Washington, the Los Angeles County Museum of Art. (A more extensive list of his works in museums follows) He is considered one of the most successful and recognized sculptors of his generation. His creative influence can be seen in many of his contemporary artists.
He died in Los Angeles in 1973.
Regarding his iconic Art Deco sculptures of Cretan Dancers:
“The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.”
Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12.
Lovet-Lorski created sculptures of the following major figures
I.J. Paderewski, Prime Minister of Poland
Arturo Toscanini, Italian Conductor
Lilian Gish, Actress
President Franklin D. Roosevelt
Mrs. M. C. Niarchos, wife of Stavros Niarchos
President Abraham Lincoln
James Forrestal, Secretary of the Navy, First Secretary of Defense
Pope Pius XII
Dr. Albert Einstein, theoretical physicist
President Dwight D. Eisenhower
Albert Schweitzer, theologian, organist, writer, humanitarian, philosopher, and physician
General Charles De Gaulle, President of the Fourth and Fifth Republic, France
John Foster Dulles, Secretary of State, 1953-1959
President John F. Kennedy
Works by Lover Lorski are in the following public collections:
Albright-Knox Art Gallery, Buffalo
Art Institute of Chicago
Bibliotheque Nationale, Paris
Brandeis University, Waltham, MA
British Museum, London
Boston University
Brooklyn Museum
California Palace of the Legion of Honor, Sam Francisco...
Category
Art Deco 18th Century and Earlier Nude Drawings and Watercolors
Materials
Graphite
The Captive, Study of a Naked Man, Red Chalk Study, Carracci Gallery
By Annibale Carracci
Located in London, GB
Red chalk on paper
Image size: 11 x 5 1/2 inches (28 x 14 cm)
Mounted
This 18th century drawing is after the work of the 16th Century Italian artist Annibale Carraci. This figure, along with many more, were painted by Carraci in the Palazzo Farnese in a space now known as the Carracci gallery. The Carracci gallery is considered as one of the most important Renaissance commissions in Rome. This figure, along with five other companions, were known as 'The Captives'. They were designed by the artist to appear trapped in the architectural spaces in the walls and sat around the fresco that featured Perseus and Andromeda.
Annibale Carracci
Annibale Carracci (1560–1609) was the most admired painter of his time and the vital force in the creation of Baroque style. Together with his cousin Ludovico (1555–1619) and his older brother Agostino (1557–1602)—each an outstanding artist—Annibale set out to transform Italian painting. The Carracci rejected the artificiality of Mannerist painting, championing a return to nature coupled with the study of the great northern Italian painters of the Renaissance, especially Correggio, Titian, and Veronese.During the 1580s, the Carracci were painting the most radical and innovative pictures in Europe. Annibale not only drew from nature, he created a new, broken brushwork to capture movement and the effects of light on form. His Two Children Teasing a Cat marks a new chapter in the history of genre painting.
The revolutionary potential of this new kind of painting would be taken up over a decade later by Caravaggio, who must have seen the Carraccis’ work while traveling from Milan to Rome in 1592.The Carracci saw themselves as heir to a great artistic tradition, and they consciously situated themselves within the history of northern Italian painting. Annibale and Agostino visited Parma and Venice to study the work of Correggio, Titian, Tintoretto, and Veronese. Their altarpieces and secular fresco cycles in Bologna reasserted a northern Italian emphasis on color, light, and the study of nature, but with a new focus on emotive communication. Their success led to Annibale being invited to Rome to work for the powerful Farnese family (1595). Ludovico remained in Bologna to direct the academy they founded. Through the next generation of painters—Francesco Albani, Domenichino, Guido Reni, Giovanni Lanfranco, and Guercino—Bolognese painting became the dominant force in seventeenth-century art.
In Rome, Annibale’s painting was transformed through his first-hand encounter with classical antiquity and the art of Michelangelo and Raphael. Individual scenes of ancient mythology are surrounded by an elaborate illusionistic framework with feigned statues, in front of which sit muscular nude figures seemingly lit from the actual windows (Galleria Farnese ceiling). The corners are opened to painted views of the sky. When unveiled in 1600, the ceiling was instantly acclaimed as the equal of any work in the past. In combining northern Italian naturalism with the idealism of Roman painting, Annibale created the basis of Baroque art. His only challenger in Rome was Caravaggio, whose relation with the past was combative rather than assimilative. Moreover, Caravaggio’s art...
Category
Renaissance 18th Century and Earlier Nude Drawings and Watercolors
Materials
Paper, Chalk
Candelstick project, a drawing attributed to Giulio Romano (circa 1499 - 1546)
Located in PARIS, FR
This drawing is very close to the other silverware designs created by Giulio Romano for the Gonzaga court in Mantua, where he settled from 1524 onwards. An exhibition organized a yea...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Ink, Laid Paper
18th Century Italian Old Master Drawing Nude Figure Sketches Male & Female
Located in Cirencester, Gloucestershire
Figurative Sketches
Italian School, mid 18th century
circle of Pompeo Batoni (1707-1787)
charcoal and pencil, heightened with white chalk, unframed...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk, Charcoal, Pencil
French School 18th century, The Judgement of Paris, original drawing
Located in Paris, FR
French School 18th century,
The Judgement of Paris,
Pen and back ink and black ink wash on paper
14.5 x 17 cm
Framed : 28 x 31 cm
The particularly fine execution of this 18th century drawing is reminiscent of the style of the great draughtsmen of the period, but at this stage there is no sure way of attributing it.
The theme of the work is obviously well known, the Judgement of Paris was particularly popular, and we remember its treatment by Antoine Watteau, but it crosses the whole history of art.
The Judgement of Paris is a story from Greek mythology, which was one of the events that led up to the Trojan War and in later versions of the story to the foundation of Rome :
Eris, the goddess of discord, was not invited to the wedding of Peleus and Thetis. In revenge, Eris brought a golden apple, inscribed, "To the fairest one," which she threw into the wedding. Three goddesses...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Ink
17th century Italian figure drawing - Male Nude - Pencil paper Italy
Located in Varmo, IT
Italian painter (17th century) - Male nude.
34 x 24 cm without frame, 42 x 32 cm with frame.
Sanguine, charcoal and white pencil drawing on paper, in...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Paper, Pencil
Study of Nude Man, a red chalk study by Ubaldo Gandolfi (1728 - 1781)
Located in PARIS, FR
We would like to thank Marco Riccòmini for his help in preparing this note and in particular for pointing out the existence of the drawing in the Musei Civici of Reggio Emilia.
The ...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk
Apollo and the Muses, a Renaissance drawing attributed to Girolamo da Carpi
Located in PARIS, FR
This subtle drawing from the Roman Renaissance presents Apollo accompanied by three Muses. It is based on a sarcophagus depicting the nine Muses framed by Minerva and Apollo, which is now in the Kunsthistorisches Museum in Vienna. Girolamo de Carpi repeatedly drew figures from this sarcophagus during his stay in Rome between 1549 and 1553. Despite this common source of inspiration, the more delicate execution of our drawing and the similarities with a painting by the artist depicting Apollo or Poetry made around 1532-1534 (9th photo in the Gallery) suggest the same period of production for our drawing.
1. Girolamo de Carpi, a life between Ferrara and Rome at the service of the Este family
Our knowledge of Girolamo de Carpi's life is largely based upon the second edition of the Lives of the Artists published in 1568 by Giorgio Vasari (1511 - 1574), became a close friend of his around 1550.
Girolamo de Carpi was born in 1501 in Ferrara where his father was also a painter. After an apprenticeship shared between his father's workshop and that of Garofalo, Girolamo began his career in Bologna, where he settled in 1525, working on the frescoes in the sacristy of San Michele in Bosco alongside Biagio Pupini. He was then influenced by Parmigianino, whom he had met in Bologna or during a brief stay in Rome before moving to Bologna.
From 1530 onwards, Girolamo de Carpi settled in Ferrara, probably making a further stay in Rome in 1531. He also began to work for the d'Este family, first in Belriguardo, where he took part in the decoration of the Sala della Vigna, then in the Palazetto della Montagna di San Giorgio (of which he may have been the architect), which he also decorated with frescoes, and finally in Copparo. A true Renaissance court artist, Girolamo also executed easel paintings, ephemeral decorations and tapestry cartoons for his clients.
Cardinal Hippolyte d'Este, who, since the early 1540s, had been one of his main clients within this powerful family, called him to Rome to design the layout of his Quirinal garden. Girolamo remained in Rome for four years, also working as an architect at the Belvedere for Pope Julius III, before returning to Ferrara in 1553. His last work as an architect was the reconstruction of the ducal palace in Ferrara, which was partly destroyed by fire in 1554.
2. Description of the artwork and some related artworks
This double-sided drawing depicts four figures inspired by antique statuary: Apollo accompanied by a griffin with the Muse Calliope on his right, and the Muses Melpomene and Polymnia on the reverse. The drawing of each figure, made of fine hatchings, is particularly delicate and evokes the refined art of Parmigianino, who inspired Girolamo de Carpi in his early days.
The figure of Apollo...
Category
Old Masters 18th Century and Earlier Nude Drawings and Watercolors
Materials
Ink
After Michelangelo - 18th Century Sanguine, Detail from the Creation of Adam
Located in Corsham, GB
A sanguine study of a male torso in the manner of Old Master drawings. The study is possibly after a detail from Michelangelo's (1475-1564) 'The Creation of Adam' (c.1508-1512) in th...
Category
18th Century and Earlier Nude Drawings and Watercolors
Materials
Chalk
