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How, why, and for whom did these artists draw? What value did they place on their drawings? How did their drawings get handed down to us? In what way do they enable us better to understand the artists' intentions, their creative processes, and to penetrate their worlds? Rosenberg determines that each artist approached drawing in a distinctive way, reflecting his individual training, work habits, and personal ambitions. For example, Poussin viewed his drawings simply as working documents, Watteau preferred his drawings to his paintings, and Fragonard made a lucrative business selling his graphic work. For David and Ingres, drawing had a considerable pedagogical function, whether in copying the great works of their predecessors or in sharpening their own techniques.
Originally delivered as a series of Mellon Lectures at the National Gallery of Art, Washington, D.C., From Drawing to Painting gives the reader an unprecedented view of the artistic process. This richly illustrated book will make an important and beautiful addition to any art library.
Library of Congress subject headings for this publication: Drawing, French, Painting, French