Excerpt from Turner's Sketches and Drawings The Sublime – 1797- 1802; Changes from pure outline to light and shade; 'Ewenny Priory,'; Contrast between 'Ewenny' (1797) and 'Llandaff Cathedral' (1796); Transition from Objectivity to Sublime; There are no sublime objects, but only objects of sublime feeling; There are no guidance but from art; The Wilson tradition; the two current in Turner's work at this period – (a) Study of Nature, (b) Study of the Wilson tradition; In the 1791 sketches these two currents are kept distinct; The North of England these two currents are kept distinct; 'Studies for Pictures: Copies of Wilson; The two currents begin to coalesce; The origin of 'Jason,'; Scotch tour (1801); Swiss tour (1802); The Sea Painter – 1802-1809; Contrast between Marine painting and the Sublime; Turner's 'Bridgewater Sea-piece,'; 'Meeting of the Thames and Medway,'; 'Our landing at Calais – nearly swampt,'; 'Fishermen upon a Lee Shore,'; The Dumbar and Guisborough Shore sketch-book; 'The Shipwreek,'; The mouth of the Thames; 'Sheerness' and the 'Death of Nelson,'; 'Simple Nature' – 1808-1818; The work of this period an important yet generally neglected aspect of Turner's art; Turner's classification of 'Pastoral' as distinguished from 'Elegant Pastoral,'; The Arcadian idyll of the mid-eighteenth century; The first 'Pastoral' subjects in 'Liber,'; The 'Windmil and Lock,' About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

After the heroic nudes of the Renaissance and depictions of the tortured bodies of Christian saints, early seventeenth-century French artists turned their attention to their fellow humans, to nobles and beggars seen on the streets of Paris, to courtesans standing at their windows, to vendors advertising their wares, to peasants standing before their landlords. Realism and Role-Play draws on literature, social history, and affect theory in order to understand the way that figuration performed social positions.

Théodore Rousseau (1812–1867), arguably the most important French landscape artist of the mid-nineteenth century and a leader of the so-called Barbizon School, occupies a crucial moment of transition from the idealizing effects of academic painting to the radically modern vision of the Impressionists. He was an experimental artist who rejected the traditional historical, biblical, or literary subject matter in favor of “unruly nature,” a Romantic naturalism that confounded his contemporaries with its “bizarre” compositional and coloristic innovations. Lavishly illustrated and thoroughly documented, this volume includes five essays by experts in the field. Scott Allan and Édouard Kopp alternately examine Rousseau’s diverse techniques and working procedures as a painter and as a draftsman, as well as his art’s mixed economic and critical fortunes on the art market and at the Salon. Line Clausen Pedersen’s essay focuses on Mont Blanc Seen from La Faucille, Storm Effect, an early touchstone for the artist and a spectacular example of the Romantic sublime in the Ny Carlsberg Glyptotek’s collection. This catalogue accompanies an eponymous exhibition on view at the J. Paul Getty Museum from June 21 to September 11, 2016, and at the Ny Carlsberg Glyptotek from October 13, 2016, to January 8, 2017.

The celebrated French artist Edme Bouchardon (1698–1762) is primarily known as a sculptor today, but his contemporaries widely lauded him as a draftsman as well. Talented, highly innovative, and deeply invested in the medium, Bouchardon made an important contribution to the European art and culture of his time, and in particular to the history of drawing. Around two thousand of his drawings survive—most of which bear no relation, conceptual or practical, to his sculpture—yet, remarkably, little scholarly attention has been paid to this aspect of his oeuvre. This is the first book-length work devoted to the artist’s draftsmanship since 1910. Ambitious in scope, this volume offers a compelling narrative that effectively covers four decades of Bouchardon’s activity as a draftsman—from his departure for Rome in 1723 as an aspiring student to his death in Paris in 1762, by which time he was one of the most renowned artists in Europe. His accomplished and dynamic style is analyzed and copiously illustrated in a series of five interrelated chapters that serve as case studies, each of which focuses on a coherent group of drawings from a particular period of Bouchardon’s career.