Raphaël (Maîtres de l'art italien)

2019 marks the 350th anniversary of Rembrandt's death (1605-1669). The Dresden Kupferstich-Kabinett, which possesses one of the most important collections of Rembrandt's drawings and prints in the world, has taken the opportunity to cast fresh light on this innovative 'artists' artist'. Rembrandts 'mark' is not only his individual hand but also the deep impression he has made on subsequent art practice. "No one gets round Rembrandt" (Max Beckmann). Rembrandt's mark is explored in this exhibition and catalogue in his most personal themes and processes - in his self-portraits (which have had huge influence) ; in his studies of his wife Saskia in their brief years together before her early death ; in the way he taught drawing and studied from the life with his numerous pupils ; in the vitality and freedom - not to say extreme skill - with which he composed and prepared his graphic work, in particular his masterpiece the Hundred Guilder Print ; and his much admired handling of light and shadow.

Rembrandt's mark

One of the masterpieces of The Courtauld Gallery's collection of Spanish drawings is a sheet known as Cantar y bailar (Singing and dancing), page 3 from Goya's Album D, also known as the 'Witches and Old Women' album. Bringing together all the extant album pages, currently numbered up to 23, this catalogue proposes a reconstruction of the album that would include the sheets from which Goya's page numbers have been erased or trimmed away. Goya began to create 'journal albums' of drawings relatively late in life, after the shattering illness that left him stone deaf before the age of fifty. It was a practice he would sustain until his death, creating eight albums (named with letters A to H) that originally included a total of some 550 drawings. Visually, technically and intellectually coherent, these albums are unified in their discrete techniques and types of support, and paginated (after the first). In these album pages Goya committed to paper his views, with or without written comments, on human nature and the world around him. Each album has its own distinctive subject matter, style and technique. The later history of the eight albums, already expertly chronicled, remains under investigation. The disbound album sheets were remounted in large volumes by Goya's son, then sold en bloc by his grandson. Following their final dispersal by Federico de Madrazo and Valentín Carderera in the 1860s and 1870s, many gaps remain in all the albums. This exhibition and the research underpinning it on Album D are the pilot for an international project for the reconstruction of Goya's graphic oeuvre. The publication will test the extent of Album D and explore the possible sequence and thematic coherence of the sheets. The individual Album D drawings will be reproduced as a proposed reconstructed sequence, each with detailed catalogue entry and technical information. In addition, the publication will define the context of the album by including a number of closely related works by Goya.

Goya - The Witches and Old Women Album

Une Série unique sur les grands maîtres de la peinture en Europe Une monographie complète très illustrée pour moins de 7 € De très nombreuses illustrations de grand format présentant les oeuvres du maitre.
Parfait pour se rafraichir la mémoire avant la visite d'un musée ou pour avoir un ouvrage souvenir d'un peintre que l'on a aimé.

Raphaël

Image-Analytical Photography 1968-1974

The year 2020 marked the three hundredth anniversary of the Dresden Kupferstich-Kabinett. Dedicated to works on paper, the preeminent museum was formally founded by Augustus the Strong in 1720. Its origins, however, can be traced back to the Kunstkammer, a major cabinet of curiosities established by the rulers of Saxony in the sixteenth century. Today, the Kupferstich-Kabinett's holdings include more than five hundred thousand works from the Middle Ages to the present day. The collection contains drawings and prints, as well as sketchbooks, bound illustrated volumes, miniatures, and paintings on paper. The museum has also been collecting photography since 1898, only a few decades after the invention of the medium. The Kupferstich-Kabinett has always seen itself as a place that engages deeply with the present, in collecting as well as in sharing what has been acquired with visitors.

Keeping in the Present - 300 Years of the Dresden Kupferstich-Kabinett

« C'est à peine si je peux exprimer avec des mots, chère Margaret Roper, joyau de l'Angleterre, la joie que j'ai ressentie en mon âme lorsque le peintre Holbein m'a montré votre famille, peinte avec une telle fidélité que si j'avais été présent chez vous, je n'en aurais pas vu davantage ; j'espère toujours qu'il me sera donné de revoir avant mon dernier jour, ne serait-ce qu'une seule fois, cette si chère compagnie [...] ; par sa main habile, le peintre a en grande partie comblé mon souhait. »

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