Background
Ives, Colta Feller was born on April 5, 1943 in San Diego, California, United States.
( Vincent van Gogh (18531890) believed that drawing was ...)
Vincent van Gogh (18531890) believed that drawing was the root of everything.” A self-taught artist, he succeeded, between 1881 and 1890, in developing an inimitable graphic style. This book traces the artist’s successive triumphs as a draftsman, first in the Netherlands and later in France, highlighting the diversity of his technical invention and the striking continuity of his vision. Given the pivotal role drawings played in Van Gogh’s artistic conception and the rich dialectic they enjoyed with his oil paintings, a small selection of related canvases by the artist is also featured. This beautiful book presents approximately 120 works in charcoal, ink, graphite, watercolor, and diluted oils. The authors explore enduring questions that surround Van Gogh’s drawings, including their manufacture, artistic precedents, and contribution to Modernism. In addition, the text discusses the significance of the artist’s drawing practice to his development as a painter. The essays and entries feature the most current research on Van Gogh’s drawings and provide fresh interpretations of the motivating influences that shaped the artist’s contributions to the history of drawing.
http://www.amazon.com/gp/product/030010720X/?tag=2022091-20
( Honoré Daumier (1808-1879) is best known as the nimble ...)
Honoré Daumier (1808-1879) is best known as the nimble caricaturist of French politics and the habits of the bourgeoisie. The nearly 4,000 lithographs he created for the Parisian press have long been appreciated as magic windows on the perils and follies of everyday life and continue to be widely admired. However, it is in his rarer and less famous drawings and watercolors, the private work he made for himself and a very limited audience, that Daumier most clearly emerges as an artist of exceptional genius. Indeed, it was on the strength of his skill as a draftsman that Baudelaire declared Daumier the equal of Ingres and Delacroix. This volume accompanies an exhibition at the Städel Museum, Frankfurt, and The Metropolitan Museum of Art, New York, which offered the most extensive display of Daumier's drawings since the Paris retrospectives of 1901 and 1934. Featuring about 150 works from twenty of the world's foremost museums and from private collections, it included casual sketches produced by the artist to vent his restless imagination as well as many of the highly finished watercolors he designed as formal presentations of his art. By combining Daumier's drawings with selected examples of his paintings, prints, and bronzes, this book traces the evolution of the artist's succinct and emphatically expressive style from its roots in the European tradition exemplified by Rembrandt, Rubens, and Fragonard to its modern manifestations in the works of Degas, Cézanne, Toulouse-Lautrec, and Beckmann. In the course of his long and productive career Daumier returned again and again to favorite themes, often after considerable lapses of time. Thus the works here are grouped by their subject matter into six sections: studies of individual figures and faces; narrative scenes inspired by history or literature; views of contemporary urban and domestic life; dramatic portrayals of lawyers in court; depictions of street performers; and episodes in the wanderings of Don Quixote and Sancho Panza. Five essays, in which the exhibition's curators are joined by two other scholars of nineteenth-century art history, investigate particular aspects of Daumier's work as a draftsman: the character of his fluid, energetic style; the complex iconography and structure of his drawings; the essentially sculptural nature of his art; his effective mastery of pose and gesture; and his personal view of the artist's role in society. This book was originally published in 1992 and has gone out of print. This edition is a print-on-demand version of the original book.
http://www.amazon.com/gp/product/0810964236/?tag=2022091-20
(Features works on paper in the Met Collection. The Metrop...)
Features works on paper in the Met Collection. The Metropolitan Museum of Art Bulletin (Volume XLVI, No. 1, Summer 1988). 55 illustrations, 36 in color. References. 56p.
http://www.amazon.com/gp/product/B00071KPLG/?tag=2022091-20
(Nineteenth-century French and English paintings, drawings...)
Nineteenth-century French and English paintings, drawings and oil sketches - works by such artists as Courbet, Constable, Delacroix, Gericault, Corot, Rousseau, Conture and Daubigny - are presented in this book, a documentation of some of the holdings of Karen B. Cohen, a noted New York collector.
http://www.amazon.com/gp/product/0300085117/?tag=2022091-20
(A companion volume to the catalogue that accompanied the ...)
A companion volume to the catalogue that accompanied the exhibition of Degas's vast private art collection in late 1997. It contains much additional information concerning the 5000 paintings, drawings and prints, including such details as provenance, selected references and current locations.
http://www.amazon.com/gp/product/0300086571/?tag=2022091-20
( In 1889 Pierre Bonnard, then in his early twenties, wa...)
In 1889 Pierre Bonnard, then in his early twenties, was commissioned to design a poster for a brand of champagne. When his spirited creation—the image of a belle suggesting in disarming fashion the pleasures to be had from a glass of bubbly—made its appearance on the streets of Paris, it was an instant success, helping to launch Bonnard on his career as a professional artist. The poster France-Champagne also introduced him to color lithography, a medium popular with artists and public alike for its creative possibilities and as a means of bringing art to a wider audience. For many years the graphic arts continued to play a seminal role in Bonnard's development. Where his sympathies were engaged, he proved to be a born illustrator, with the knack of communicating his subject in a manner distinctly his own. His witty, seemingly casual designs were in demand for posters and for covers of books and sheet music. He contributed lithographs to print portfolios and illustrations, often irreverent, to the avant-garde periodicals of his day. With his brother-in-law, the musician Claude Terrasse, he produced a children's music primer and an album of piano pieces for the family that show him to have been an observant uncle with a sense of fun. He even created a multiple, a folding screen whose four lithographic panels, depicting a fashionable mother and her children out for a walk, brought the Paris street indoors. The culminating legacy of those years at the turn of the century lay in the three great works of lithography that Bonnard published through his dealer Ambroise Vollard: a portfolio of city scenes, Quelques Aspects de la vie de Paris, and two illustrated deluxe books, very different in their content, Verlaine's Parallèlement and the antique pastoral romance Daphnis et Chloe. They were not an overwhelming success at the time, and Parallèlement in particular was criticized for Bonnard's bold treatment of the printed page. But from a later perspective they are unsurpassed examples of the art of the peintre-lithographe. As painting became more and more the center of Bonnard's life, and as he moved away from Paris, making a home first in the Seine Valley and then in the South of France, his involvement with the graphic arts inevitably diminished. But he never lost touch with them, and to the end of his life seems always to have been open to requests from friends and publishers to supply lithographs, etchings, and book illustrations. Bonnard's graphic production can be seen as the public face of his art, the one that shows him at his most gregarious and entertaining. To be fully appreciated this material needs to be studied in light of the artist's oeuvre as a whole. By analyzing the broad themes that engaged Bonnard's attention—scenes of family life, Paris vistas and activities, the intimate nude, and familiar landscapes—the authors trace his development from the concise abstractions of his youth to the expansive, color-filled works of his maturity. Their essays, lavishly documented with reproductions and comparative material, demonstrate the profound extent to which Bonnard's vision as a painter was related to and affected by his activities as a printmaker and illustrator. Colta Ives is the Curator-in-charge of the Department of Prints and Photographs at The Metropolitan Museum of Art, New York, and a specialist in nineteenth-century French prints. Helen Giambruni is a Bonnard scholar whose studies have focused on his early works. Sasha M. Newman, Seymour H. Knox, Jr., Curator of European and Contemporary Art at the Yale University Art Gallery, is an expert on Bonnard's later paintings. Their individual insights and combined knowledge of the subject make them uniquely qualified to illuminate a vivid and relatively little known aspect of Bonnard's genius. This book was originally published in 1989 and has gone out of print. This edition is a print-on-demand version of the original book.
http://www.amazon.com/gp/product/0810931001/?tag=2022091-20
( After Admiral Perry broke through Japan's isolation in...)
After Admiral Perry broke through Japan's isolation in 1854, the current of Japanese trade flowed west again, bearing with it the colored woodcuts of Hokusai, Hiroshige, and their contemporaries. Some of the most avid collectors of these prints were the French Impressionists and Nabis, who found in them new ways to treat their own prints. In The Great Wave, Colta Feller Ives, Curator in Charge, Department of Prints and Photographs, The Metropolitan Museum of Art, recounts the phenomenal "cult of Japan" in late nineteenth-century France and reveals through direct comparisons its particular impact on the graphic work of Manet, Degas, Cassatt, Bonnard, Vuillard, Toulouse-Lautrec, and Gauguin. This book was originally published in 1974 and has gone out of print. This edition is a print-on-demand version of the original book.
http://www.amazon.com/gp/product/0870990985/?tag=2022091-20
( The Metropolitan Museum has in its collection an except...)
The Metropolitan Museum has in its collection an exceptional body of art in a range of media by the late-nineteenth-century French artist Henri de Toulouse-Lautrec. In exhibiting a large portion of these works, the Metropolitan once again invites the visitor—and the reader of this accompanying catalogue—to examine the product of a single fertile, inventive, and tireless mind through the rich veins of material housed at the Museum. The exhibition also gives us the chance to reassess the body of work in terms of recent scholarship. Additionally, since much of Toulouse-Lautrec's work is on paper and can be exhibited for only intermittent and limited periods of time, this show has given us an opportunity to examine these works from the point of view of conservation. Indeed, as it turned out, a number of the works on paper underwent extensive treatment before going on view. The Museum's collection of art by Toulouse-Lautrec, the result largely of generous donations from private collectors, includes paintings, drawings, and examples of his finest and most important prints. The artist excelled in lithography; a hundred years ago his bold, persistent experimenting gave this medium an entirely new appearance just when the centennial of its invention was being marked in Europe. In fact, with the wealth of examples at the Metropolitan Museum, we now can celebrate the bicentennial of lithography through the works of Toulouse-Lautrec, the artist who virtually reinvented this medium. (This title was originally published in 1995/96.)
http://www.amazon.com/gp/product/0300193831/?tag=2022091-20
(1972 Braziller hardcover, dj protected by mylar since ori...)
1972 Braziller hardcover, dj protected by mylar since original acquisition, slight foxing to top edge, otherwise bright solid and very nice, not price clipped, not ex-lib, square and solid all around
http://www.amazon.com/gp/product/B000VZXQX2/?tag=2022091-20
Ives, Colta Feller was born on April 5, 1943 in San Diego, California, United States.
Bachelor, Mills College, 1964; Master of Arts, Columbia University, 1966.
Staff Metropolitan Museum Art, New York City, since 1966, curator in charge prints and photographs, 1975-1993, curator department drawings and prints, since 1993. Guest scholar Jean Paul Getty Museum, 2002. Adjunct professor Columbia University, 1970-1987, New York University Institute Fine Arts, 2001^.
(Nineteenth-century French and English paintings, drawings...)
(1972 Braziller hardcover, dj protected by mylar since ori...)
( After Admiral Perry broke through Japan's isolation in...)
( The Metropolitan Museum has in its collection an except...)
(The essays in this book focus on Goya's life and work and...)
(The essays in this book focus on Goya's life and work and...)
( Honoré Daumier (1808-1879) is best known as the nimble ...)
(A companion volume to the catalogue that accompanied the ...)
( In 1889 Pierre Bonnard, then in his early twenties, wa...)
( Vincent van Gogh (18531890) believed that drawing was ...)
(Features works on paper in the Met Collection. The Metrop...)
(New York: Metropolitan Museum, 1980. 262pp, exhibition ca...)
Chairman grants committee Metropolitan Museum Art, 1986-1987. Board directors Bidwell House Museum, Massachusetts. Member Print Council American (executive board 1975-1977, 84-87, vice president 1989-1993), Association Art Museum Curators (executive board 2002-2004, board directors 2003-2004), Association Professional Landscape Designers, Grolier Club.
Married E. Garrison Ives, June 14, 1966. 1 child, Lucy Barrett.