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Nineteenth-Century French Drawings explores the history of this
medium, and chronicles the remarkable part it has played throughout
the past decades at the Cleveland Museum of Art. There are works by
such iconic artists as Honoré Daumier, Berthe Morisot and Auguste
Renoir, a luminous coloured pencil study by symbolist artist
Alexandre Séon and a group of “noir” drawings—named for
their use of varied black drawing media—by Henri Fantin-Latour,
Albert-Charles Lebourg and Adolphe Appian, among others. Entries
illuminate the role of drawing within 41 artists’ works and five
essays by leading scholars shed new light on the making and
collecting of drawings in France during this extraordinary period.
In 19th-century France, drawing expanded from a means of artistic
training to an independent medium with rich potential for
experimentation. A variety of new materials became available to
artists, encouraging figures ranging from Jean-Auguste-Dominique
Ingres to Paul Cezanne to reconsider drawing’s place within their
practice. Public and private exhibition venues increasingly began
to display their works, building an audience attracted by the
intimacy of drawings and their unique techniques and subjects.
An exploration of Edgar Degas’s laundress works and their
significance within broader debates art, urban life, and women’s
work in the nineteenth century Edgar Degas’s depictions
of Parisian laundresses are some of the famed Impressionist’s
most revolutionary works. In paintings, drawings, and prints
throughout his long career, Degas emphasized the strenuousness of
women’s labor and highlighted social-class divides in his
idiosyncratic avant-garde style. Laundresses washing, ironing, and
carrying heavy baskets of clothing were a highly visible presence
within late nineteenth-century Paris, and their job was difficult,
dangerous, and poorly paid. Indeed, many laundresses were forced to
supplement their income through prostitution. Degas’s portrayals
of this harsh and complicated life were included in his most
significant exhibitions and were praised by artists and critics of
his time as epitomizing modernity. Contextualizing Degas’s
laundress works with those of his contemporaries, such as Gustave
Caillebotte, Berthe Morisot, Pierre-Auguste Renoir, and Henri de
Toulouse-Lautrec, this volume also looks at examples by painters
that Degas influenced and was influenced by, from Honoré Daumier
to Pablo Picasso. Richly illustrated and featuring essays by an
interdisciplinary group of authors, this study draws on art
history, literature, and history to reveal how Degas’s stunning
works take part in a more widespread debate concerning the topic of
laundresses during the late nineteenth century. Distributed
for the Cleveland Museum of Art Exhibition Schedule:
The Cleveland Museum of Art (October 8, 2023–January 14,
2024)
Why did collectors seek out posters and collect ephemera during the
late-nineteenth and the twentieth centuries? How have such
materials been integrated into institutional collections today?
What inspired collectors to build significant holdings of works
from cultures other than their own? And what are the issues facing
curators and collectors of digital ephemera today? These are among
the questions tackled in this volume-the first to examine the
practices of collecting prints, posters, and ephemera during the
modern and contemporary periods. A wide range of case studies
feature collections of printed materials from the United States,
Latin America, France, Germany, Great Britain, China, Japan,
Russia, Iran, and Cuba. Fourteen essays and one roundtable
discussion, all specially commissioned from art historians,
curators, and collectors for this volume, explore key issues such
as the roles of class, politics, and gender, and address historical
contexts, social roles, value, and national and transnational
aspects of collecting practices. The global scope highlights
cross-cultural connections and contributes to a new understanding
of the place of prints, posters and ephemera within an increasingly
international art world.
Why did collectors seek out posters and collect ephemera during the
late-nineteenth and the twentieth centuries? How have such
materials been integrated into institutional collections today?
What inspired collectors to build significant holdings of works
from cultures other than their own? And what are the issues facing
curators and collectors of digital ephemera today? These are among
the questions tackled in this volume-the first to examine the
practices of collecting prints, posters, and ephemera during the
modern and contemporary periods. A wide range of case studies
feature collections of printed materials from the United States,
Latin America, France, Germany, Great Britain, China, Japan,
Russia, Iran, and Cuba. Fourteen essays and one roundtable
discussion, all specially commissioned from art historians,
curators, and collectors for this volume, explore key issues such
as the roles of class, politics, and gender, and address historical
contexts, social roles, value, and national and transnational
aspects of collecting practices. The global scope highlights
cross-cultural connections and contributes to a new understanding
of the place of prints, posters and ephemera within an increasingly
international art world.
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