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Artists and travel have for centuries been intertwined where the
desire to explore beyond the confines of one’s home has provoked
a truly astonishing outpouring of creativity, much of which was
captured through drawings and prints. Comprising over 100 such
works, Connecting Worlds: Artists& Travel will be the first
exhibition to approach the subject through the lens of artists’
experiences of travel from the Renaissance to the nineteenth
century, before the establishment of the railroad and use of
photography as a means of recording changed these experiences
deeply. A collaboration between the Kupferstich-Kabinett,
Staatliche Kunstsammlungen Dresden, and the Katrin Bellinger
Collection, London, the exhibition will include works by major
artists, lesser known professionals as well as amateurs, mostly
from Northern Europe, amongst them Albrecht Dürer, Hans Holbein
the Younger, Pieter Bruegel the Elder, Wenceslaus Hollar, Zacharias
Wagner, Valentin Klotz, Maria Sibylla Merian, Angelika Kauffmann,
Franz Pforr, Augusta von Buttlar, Julie von Egloffstein, Ludwig
Richter, and Friedrich Preller the Elder. Divided into three
sections, “On the road”, “Destination Rome”, and
“Dresden”, the exhibition begins by exploring artists on the
road and what they regarded as important to record in sketchbooks
and individual sheets. The second section looks at Rome as one of
the most important destinations for Northern travellers, with its
incomparable remains of antiquity and as the seat of the Catholic
Church that celebrated its religious and administrative life
through processions and public spectacle. The journey ends in
Dresden, as a centre for collecting, cultural exchange and
glamorous festivities, ambitiously competing with other
international courts since the time of Augustus the Strong. A
different kind of travel, made possible by collecting images and
stories of landscapes, flora, fauna, and cultures previously
unknown in Europe, is explored. This section closes with the story
of the Indonesian Romantic artist Raden Saleh, who first visited
Dresden in 1839, and was warmly welcomed by the Saxon court. The
richly illustrated catalogue will feature essays by an
international panel of experts addressing such topics as the uses
of artist sketchbooks across time, written and visual accounts of
travel in books and prints, encounters with the Ottoman world,
travel and collecting at the Saxon court.
2019 jahrt sich Rembrandts Todesjahr zum 350ten Mal. Die
Staatlichen Kunstsammlungen Dresden, die eine der bedeutendsten
Sammlung seiner Gemalde, Zeichnungen und Druckgrafiken bewahren,
nehmen dieses Jubilaum zum Anlass, den Kunstler in einer
Ausstellung des Kupferstich-Kabinetts zu feiern. Rembrandts Strich
wird sich auf den Grafiker und Zeichner konzentrieren und einen
frischen Blick auf ihn suchen, der vielleicht wie kein zweiter bis
heute als sogenannter "artists` artist" andere Kunstler zur
Auseinandersetzung angeregt hat. Die einzigartige Dresdner Sammlung
- etwa 20 Zeichnungen, die Rembrandt heute zugeschrieben werden und
das nahezu vollstandige druckgrafische Werk - bildet die Grundlage
fur die herausragende Ausstellung. Sie wird ein besonderes
Augenmerk auf seine erzahlerischen Kompositionen, radierten
Selbstbildnissen und die Studien seiner Frau Saskia richten. Die
Ausstellung umfasst rund 100 Werke aus allen Schaffensperioden
Rembrandts und etwa 50 Radierungen und Zeichnungen von Schulern
seiner Werkstatt sowie von spateren Kunstlern, die Rembrandt als
Autoritat und kreative Inspirationsquelle verstanden haben. Die
lange Reihe derer, die ihr Selbstbildnis in Auseinandersetzung mit
Rembrandt definierten, reicht von unmittelbaren Nachfolgern und
Meistern des 18. Jahrhunderts wie Benedetto Castiglione und Georg
Friedrich Schmidt, uber den kongenialen Francisco de Goya ins 20.
Jahrhundert bis heute. Als Beispiele moegen Edouard Manet, Henri
Toulouse-Lautrec, Lovis Corinth, Kathe Kollwitz, Max Beckmann und
Pablo Picasso sowie Marlene Dumas und William Kentridge, aber auch
Kunstler aus der DDR wie A.R. Penck dienen. Indem Werke dieser
Kunstler einbezogen werden, wird Rembrandt als einer der
wichtigsten "Kunstlerkunstler" aller Zeiten vorgestellt.
Ausgewahlte Gegenuberstellungen werden den heutigen Betrachtern
helfen, das Feuerwerk an Kreativitat besser zu verstehen, das
Rembrandt nicht nur zu seiner Zeit freisetzte, sondern auch heute
noch entzundet. Zeitlos fesselnd bleibt Rembrandt durch seine
Radikalitat in Auswahl und unkonventioneller Interpretation
christlicher und profaner Bildthemen, nicht weniger durch seine
Experimentierfreudigkeit - besonders im Gebrauch grafischer
Techniken - als auch durch seinen reflektierten und dabei oft
humorvollen Intellekt, der von seinem sinnlich zupackenden Blick
auf die Welt erganzt wird. Mit leichter Hand, fast spielerisch doch
voller Energie, sprengte er in seiner Zeit Konventionen. Mit seinem
freien, unverkennbaren Strich schuf er Bildwelten, aus denen sein
schier unerschoepfliches Interesse an der Natur als Schoepfung
spricht, sei es die aussere oder die innere des Menschen. Damit
bietet sich eine Fulle von Anknupfungspunkten und Anregungen fur
Kunstler und Betrachter.
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The Young Durer (Hardcover)
Stephanie Buck, Stephanie Porras, D. Freedberg, Michael Roth
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R1,275
R982
Discovery Miles 9 820
Save R293 (23%)
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Ships in 12 - 17 working days
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Accompanying a landmark exhibition at the Courtauld Gallery, this
book examines the remarkable drawings made by Du rer as a young man
from 1490 to 1495, especially those made during his journeyman
years, or Wanderjahre - considered the final part of a craftsman's
training - and a second shorter trip which immediately followed and
seems to have brought the artist to Italy. These trips form the
framework for the book, which focuses on the young artist's figure
studies and has at its heart the Courtauld Gallery's double-sided
drawing of a Wise Virgin and Two studies of the artist's left leg.
This superbly ambitious work serves as a springboard to explore in
depth the role of drawing at this stage of Du rer's career. It
allows us to address a series of crucial questions: how Du rer
formed 'his hand', how he responded to artistic challenges
presented by contemporary and earlier art (both on a stylistic and
an iconographic level), how his pursuit of professional success was
linked with the quest for an individual artistic identity, and how
the strategy of recording his own creative achievements in drawings
dovetails with his claim for a new status for the artist in his
city. The scholarly and beautifully illustrated catalogue is
introduced with five essays by distinguished experts. Stephanie
Buck examines the documentary evidence and attempts to reconstruct
the motivations and activities of Du rer's travels as a young man.
David Freedberg discusses Du rer's obsessive observation and
recording of himself in portraits and in studies of his limbs.
These represent the first critical steps in the artist's developing
understanding of the body, and of the ways in which its movements
could not just show emotion, but rouse the equivalent sense of
torsion, tension and pathos in the bodies and minds of his viewers.
Stephanie Porras looks at Du rer's copies of drawings or prints
circulating in Nuremberg workshops or acquired during the
Wanderjahre, which were used as a means of seeking inspiration, of
challenging himself to draw more sophisticated figures and dynamic
compositions. Michael Roth asks the question of how the three
strands of the art of the line- drawing, engraving and woodcut -
structurally correspond in Du rer's work and, consequently, how
drawing merges with certain manual aspects of printing. A final
essay presents new technical research on Du rer's early drawings
undertaken collaboratively in a number of leading collections of
the artist's work, and aims to enrich our understanding of the
young Du rer's approach to the medium of drawing.
This groundbreaking reconstruction of Goya's so-called 'Witches and
Old Women' album will offer rich insights into the artist's
concerns and preoccupations and will immeasurably deepen our
understanding of the artist. With its themes of witchcraft, madness
and nightmares, the predominant imagery of the album offers a
particularly important perspective on the development of Goya's
interest in old age and its relationship to the fantastic and
diabolical.
The Dresden collection's singular group of Rembrandt works - about
20 drawings attributed to the master today and the nearly complete
oeuvre of etchings- will provide the basis for this remarkable
publication. It will have a particular focus on Rembrandt's
narrative compositions, printed self-portraits, studies of his wife
Saskia, and will include works from all periods of his oeuvre plus
prints and drawings by artists from his workshop and followers. The
list of artists who understood Rembrandt as a dynamic authority and
source of inspiration is long, reaching from his immediate
followers to masters of the 18th century, from Giovanni Benedetto
Castiglione to Jonathan Richardson to the kindred spirit Francisco
de Goya, into the 20th century and up to the present day. Examples
include Edouard Manet, Henri Toulouse-Lautrec, Lovis Corinth, Kathe
Kollwitz, Max Beckmann, Pablo Picasso, as well as Marlene Dumas and
William Kentridge and artists from the GDR such as A.R. Penck. By
including works by these artists, the exhibtion and catalogue
foreground Rembrandt as one of the most important 'artists' artist'
of all time. Select juxtapositions will help the reader better
understand the fi reworks of creativity that Rembrandt not only lit
in his own time but those he continues to ignite today. Rembrandt
remains eternally captivating, not only because of his radical
choices and unconventional interpretations of Christian and profane
pictorial subjects, but also because of his joy in experimentation,
especially in the use of printing and drawing techniques, and his
refl ective, humorous intellect, complemented by his sensually
direct approach to the world. With a light hand, he broke open the
conventions of his era. The pictorial worlds that he created with
his free, decisive mark convey his near inexhaustible interest in
nature as creation, whether it be the human exterior or interior,
and off er a wealth of connecting points and constellations for
other artists as well as for the viewer.
Michelangelo's masterpiece The Dream ( Il Sogno) has been described
as one of the finest of all Italian Renaissance drawings and is
amongst The Courtauld Gallery's greatest treasures. Executed in c.
1533, The Dream exemplifies Michelangelo's unrivalled skill as
draftsman. Accompanying an exhibition at the Courtauld in 2010,
this catalogue examines this celebrated work in the context of a
group of closely related drawings by Michelangelo, as well as some
of his original letters and poems and works by his contemporaries.
The Dream is one of Michelangelo's 'presentation drawings', a
magnificent and famous group of highly refined compositions which
the artist gave to his closest friends. These beautiful and complex
works transformed drawings into an independent art form and are
amongst Michelangelo's very finest creations in any medium. The
Dream was probably one of a superb group made for a young Roman
nobleman with whom Michelangelo was in love, Tommaso de' Cavalieri,
who was celebrated for his outstanding beauty, gracious manners and
intellect. This group is studied in the book and includes The
Punishment of Tityus, The Fall of Phaeton, A Bacchanal of Children
and The Rape of Ganymede. In his Life of Michelangelo (1568) the
biographer and artist Giorgio Vasari praised these exceptional
works as "drawings the like of which have never been seen" - and
they are still regarded as amongst the greatest single series of
drawings ever made.
In 2020, the Dresden Kupferstich-Kabinett celebrates its 300th
anniversary. Founded in 1720 by Augustus the Strong as a museum
specializing in works on paper, the collection - now with over half
a million works, from the Middle Ages to the present day - has
always acquired contemporary art alongside recognised masterpieces.
The collection - which includes exceptional works by Jan van Eyck,
Du rer, Verrocchio, Gru newald, Cranach, Holbein, Rembrandt, Caspar
David Friedrich, Ludwig Richter, Toulouse Lautrec, Mondrian,
Hermann Gloeckner, Gerhard Altenbourg, A.R. Penck, Georg Baselitz
and Evelyn Richter - began in the 18th century with drawings,
miniatures and prints, before photography was added in 1898 as the
promising future means of reproduction. The people in charge of the
collection always had a keen eye for the art of their
contemporaries and often demonstrated particular foresight in their
acquisitions. Many of the works that were contemporary and still
unknown at the time of their acquisition are now considered special
treasures and rank equally with those that had been added to the
collection as masterpieces. Exemplary are freshly printed etchings
by Giovanni Battista Piranesi, which were little known at the time,
and were bought in the 18th century. And towards the end of the
19th century, the then director Max Lehrs promoted artists
directly, such as Max Klinger and Kathe Kollwitz. Today, the
Kupferstich-Kabinett occupies an outstanding international position
thanks to the high quality and abundance of works. However, the
collection is often hidden from the public. Works on paper in
particular require special protection and, due to their fragility
and extreme sensitivity to light, they can only rarely leave the
safety of the depot. The anniversary gives reason to air many
masterpieces of the collection, and offers the opportunity to look
into both the past and into the future, and to anchor the
Kupferstich-Kabinett with its seemingly inexhaustible holdings as a
lively, innovative and democratic place in the public consciousness
- as a place where creativity and knowledge, critical thinking and
aesthetic pleasure can be experienced. The exhibition of 84
masterpieces, which opens in Dresden in June 2020, will then travel
to New York in October 2020, where they will be presented in the
prominent, international context of The Morgan Library& Museum.
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