Rubens: Drawings 140 Colour Plates

Nonfiction, Home & Garden, Crafts & Hobbies, Art Technique, Drawing, Art & Architecture, General Art
Cover of the book Rubens: Drawings 140 Colour Plates by Maria Peitcheva, Maria Peitcheva
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Maria Peitcheva ISBN: 9788892551770
Publisher: Maria Peitcheva Publication: February 9, 2016
Imprint: Language: English
Author: Maria Peitcheva
ISBN: 9788892551770
Publisher: Maria Peitcheva
Publication: February 9, 2016
Imprint:
Language: English

Rubens approached a large work in a series of stages. First, the artist would make preliminary drawings in black chalk, sometimes in combination with brown chalk. At this point he would often refer to his extensive library of copies, but the work of his forebears always underwent radical transformation at his hand. Rubens had an extraordinary ability to breathe life and movement into figures and find new rhythms in old compositional ideas. Clearly, he used these preparatory drawings as creative adventures, and many of them bear the marks of numerous changes of pose and position as the artist’s ideas evolved. He would often change from chalk to pen-and-ink, augmenting with a light bistre (brown) wash. Sometimes, the drawing is left in a very uneven condition, with some parts heavily built up while others are left more or less open.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Rubens approached a large work in a series of stages. First, the artist would make preliminary drawings in black chalk, sometimes in combination with brown chalk. At this point he would often refer to his extensive library of copies, but the work of his forebears always underwent radical transformation at his hand. Rubens had an extraordinary ability to breathe life and movement into figures and find new rhythms in old compositional ideas. Clearly, he used these preparatory drawings as creative adventures, and many of them bear the marks of numerous changes of pose and position as the artist’s ideas evolved. He would often change from chalk to pen-and-ink, augmenting with a light bistre (brown) wash. Sometimes, the drawing is left in a very uneven condition, with some parts heavily built up while others are left more or less open.

More books from Maria Peitcheva

Cover of the book Repin: 190 Colour Plates by Maria Peitcheva
Cover of the book Henry Fuseli: 250 Colour Plates by Maria Peitcheva
Cover of the book Correggio: 218 Colour Plates by Maria Peitcheva
Cover of the book Winslow Homer: 216 Colour Plates by Maria Peitcheva
Cover of the book Paul Cezanne: 235 Colour Plates by Maria Peitcheva
Cover of the book Camille Corot: Drawings 114 Colour Plates by Maria Peitcheva
Cover of the book Rembrandt Drawings:Colour Plates by Maria Peitcheva
Cover of the book Francois Boucher: 272 Plates by Maria Peitcheva
Cover of the book Charles Le Brun:Drawings by Maria Peitcheva
Cover of the book Egon Schiele: 195 Plates by Maria Peitcheva
Cover of the book Georges Seurat:180 Plates by Maria Peitcheva
Cover of the book Anders Zorn: 300 Plates by Maria Peitcheva
Cover of the book Guercino: Drawings Colour Plates by Maria Peitcheva
Cover of the book J. M. W. Turner Drawings: Colour Plates by Maria Peitcheva
Cover of the book Jacques Louis David: 229 Colour Plates by Maria Peitcheva
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy