A fully illustrated, comprehensive, and scholarly catalogue of the paintings in the Ashmolean Museum's collection by French artists born between 1775 and 1875 The only complete catalogue of French paintings of the period in the Ashmolean Museum, this comprehensive and scholarly study explores their rich collection of nineteenth-century French art. Continuing a convention set by earlier Ashmolean catalogues that mirrors the concept of the long nineteenth century, the book defines nineteenth-century French artists as those born between 1775 and 1875. Stretching into the twentieth century, it covers a fascinating range of paintings including works by Louis-Leopold Boilly, Camille, Lucien, and Fe lix Pissarro, Henri Fantin-Latour, Edouard Manet, Pierre-Auguste Renoir, Paul Ce zanne, Claude Monet, and Henri Matisse. The catalogue was compiled by the late distinguished art historian Jon Whiteley. In each entry, Whiteley draws upon his encyclopaedic knowledge of French art and the Ashmolean holdings. Provenance, literature, and exhibition history are recorded as well as extensive technical notes and information on frames. The entries on each work are accompanied by new, high-quality photography and comparative images, resulting in a complete and thorough documentation of this important part of the Ashmolean collection of Western art, providing an informative contribution to existing scholarship. Distributed for Modern Art Press

The collection of drawings in the Ashmolean is one of the greatest treasures of the University of Oxford. It began spectacularly in 1843 when a group of drawings by Raphael and Michelangelo that had previously belonged to the portrait painter, Sir Thomas Lawrence, was bought by subscription. Lawrence's collection was one of the greatest collections of Old Master drawings ever assembled and its dispersal was much regretted. The Raphaels and Michelangelos, however, were the jewels in its crown. Following their arrival in Oxford, their fame attracted a number of gifts and bequests of drawings and watercolours by Durer, Claude Lorraine, Brueghel, J. M. W Turner, Henry Moore and many others. This is a story not only of Old Masters but of benefactors - Francis Douce, Chambers Hall, John Ruskin and their successors - whose different tastes account for the variety of the drawings in the modern Print Room. It is a story also of the curators who bought them. In particular, it is the story of Sir Karl Parker who arrived at the museum in 1934 and left a collection when he retired in 1962 that comprehensively covered the history of the art of drawing in Europe from its origins to the present day. The exhibition, Master Drawings: Michelangelo to Moore, celebrates this history. It includes many of the finest drawings in Oxford, representing the work of many different artists: Raphael and Michelangelo; Durer and the artists of the Northern Renaissance; Guercino and Rubens; Boucher and Tiepolo; German Romantics; J. M. W. Turner; Degas and Pissarro; the artists of the Ballets Russes; British twentieth-century artists from Gwen John to Hockney; and much else.