Eighteenth-Century French Drawings in New York Collections by Perrin Stein
By Perrin Stein
The Metropolitan Museum of artwork, Pierpont Morgan Library, Cooper-Hewitt Museum (Smithsonian Institution), The Frick assortment и 27 частных коллекций. Drawings by means of stated masters and lesser-known artists and a vast variety of material symbolize the 243 sheets reproduced during this quantity. prepared chronologically and thematically, Eighteenth-Century French Drawings in long island Collections strains the growth of the Rococo kind throughout the accomplishments of its such a lot fantastic practitioners and during its slow displacement through the extra spartan Neoclassical idiom, which speeded up in the course of the political upheaval of the Revolution and its aftermath. the single hundred sheets integrated, lots of them formerly unpublished, current a vast diversity of matters — from style, nonetheless lifestyles, and portraiture to reviews for background portray — and are drawn from the holdings of The Metropolitan Museum of artwork, Pierpont Morgan Library, Cooper-Hewitt Museum (Smithsonian Institution), The Frick assortment, and twenty-seven deepest collections.
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Extra info for Eighteenth-Century French Drawings in New York Collections
Beneath them there can also be seen, in the center, a person reduced to a head, a trunk, and a leg, with one vertebral column that appears to be escaping from him. If I have dwelt at such length on the detail of these two drawings, it is because they seem to me characteristic of Antonin Artaud's procedure at that time. He has to take possession of the whole space, peopling it with signs and words, garnishing it in all possible directions with diverse weapons, without permitting the slightest breach to appear in which malevolent forces could go to work.
16. V, 121. 17. VII, 481, n. 3. 18. I, 62. 11. Antonin Artaud, Lettres a Genica Athanasiou (Paris: Gallimard, 1969), p. 46. 12. Ill, 111, letter to Yvonne Gilles about November 22, 1923. 13. 'Amour" (Paul the Birds or the Place of Love) ( cf. I, 54-56), whose theme was taken from "Paolo Uccello," in Vies imaginaires (Imaginary Lives) by Marcel Schwob. A first version of this text was called "Drame mental" (Mental Drama). 'amour. 19. I, 147-148. 20. Andre Breton, Entretiens (Interviews) (Paris: Gallimard, 1952), p.
The gesture that Antonin Artaud must have made to inscribe such heavy marks in the paper is certainly the same one that I saw him repeat hundreds of times when, having discovered on his back, or his head, or 4I Paule :Jlevenin any other part of his body a spot of particular pain, he would stick into it the point of his pencil or his knife, pressing as hard as possible for several minutes. The first objects he drew are generally found in the margins; relatively geometrical in shape, they are often crosses, taus, coffins.