Venice and Drawing 1500-1800 Theory, Practice and Collecting
| ISBN(EAN) | 9780300187731 |
| Издатель |
Yale University Press
(сайт издательства) |
| Автор | Catherine Whistler |
| Язык | Английский |
| Формат | Твердый переплет |
| Страницы | 380 |
| Год издания | 2017 |
| Рейтинг | 3.5 |
| Вес (грамм) | 2087 |
| Размер (мм) | 279(д) х 248(ш) х 30(в) |
An impressive overview of drawing in Venice, from the time of Titian and Tintoretto to that of Canaletto and Tiepolo
From the time of Titian and Tintoretto to that of Canaletto and Tiepolo, drawing was an important part of artistic practice and was highly valued in Venice. This exciting new study overturns traditional views on the significance of drawing in Venice, as an art and an act, from the Renaissance to the age of the Grand Tour. Gathering together the separate strands of theory, artistic practice, and collecting, Catherine Whistler highlights the interactions and tensions between a developing literary discourse and the practices of making and collecting graphic art. Her analysis challenges the conventional definition of Venetian art purely in terms of color, demonstrating that 16th-century Venetian artists and writers had a highly developed sense of the role and importance of disegno and drawing in art. The book's generous illustrations support these striking arguments, as well as conveying the great variety, interest, and beauty of the drawings themselves.
From the time of Titian and Tintoretto to that of Canaletto and Tiepolo, drawing was an important part of artistic practice and was highly valued in Venice. This exciting new study overturns traditional views on the significance of drawing in Venice, as an art and an act, from the Renaissance to the age of the Grand Tour. Gathering together the separate strands of theory, artistic practice, and collecting, Catherine Whistler highlights the interactions and tensions between a developing literary discourse and the practices of making and collecting graphic art. Her analysis challenges the conventional definition of Venetian art purely in terms of color, demonstrating that 16th-century Venetian artists and writers had a highly developed sense of the role and importance of disegno and drawing in art. The book's generous illustrations support these striking arguments, as well as conveying the great variety, interest, and beauty of the drawings themselves.
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