LE STUM Philippe.
Wood engraving in Brittany 1850 - 2000.
Coop Breizh
Regular price
€49,00
| N° d'inventaire | 25681 |
| Format | 22 x 28 |
| Détails | 320 p., richly illustrated, paperback. |
| Publication | Spézet, 2018 |
| Etat | Nine |
| ISBN | 9782843468216 |
The historiography of painting in Brittany today includes several reference works and a multitude of thematic or monographic studies. This is far from being the case for engraving.
However, Brittany, formerly present in printmaking through woodcuts and popular imagery, has given rise to an extraordinarily abundant and diverse engraved production since the 1830s.
The affirmation of original engraving - that is to say, artist's engraving, to which this work is devoted - coincided with the "discovery" and then the vogue of a region which attracted artists from all horizons and from all over the world.
These are the artists that this book presents through the best of their Breton production. A very small number are known to the public: Bernard, Méheut, Quillivic, Creston.
All the aesthetics of wood engraving were addressed by these engravers from Brittany and are covered in this work.
Through the Breton example, this constitutes a true history, which was still lacking, of wood engraving in the 19th and 20th centuries.
However, Brittany, formerly present in printmaking through woodcuts and popular imagery, has given rise to an extraordinarily abundant and diverse engraved production since the 1830s.
The affirmation of original engraving - that is to say, artist's engraving, to which this work is devoted - coincided with the "discovery" and then the vogue of a region which attracted artists from all horizons and from all over the world.
These are the artists that this book presents through the best of their Breton production. A very small number are known to the public: Bernard, Méheut, Quillivic, Creston.
All the aesthetics of wood engraving were addressed by these engravers from Brittany and are covered in this work.
Through the Breton example, this constitutes a true history, which was still lacking, of wood engraving in the 19th and 20th centuries.
The historiography of painting in Brittany today includes several reference works and a multitude of thematic or monographic studies. This is far from being the case for engraving.
However, Brittany, formerly present in printmaking through woodcuts and popular imagery, has given rise to an extraordinarily abundant and diverse engraved production since the 1830s.
The affirmation of original engraving - that is to say, artist's engraving, to which this work is devoted - coincided with the "discovery" and then the vogue of a region which attracted artists from all horizons and from all over the world.
These are the artists that this book presents through the best of their Breton production. A very small number are known to the public: Bernard, Méheut, Quillivic, Creston.
All the aesthetics of wood engraving were addressed by these engravers from Brittany and are covered in this work.
Through the Breton example, this constitutes a true history, which was still lacking, of wood engraving in the 19th and 20th centuries.
However, Brittany, formerly present in printmaking through woodcuts and popular imagery, has given rise to an extraordinarily abundant and diverse engraved production since the 1830s.
The affirmation of original engraving - that is to say, artist's engraving, to which this work is devoted - coincided with the "discovery" and then the vogue of a region which attracted artists from all horizons and from all over the world.
These are the artists that this book presents through the best of their Breton production. A very small number are known to the public: Bernard, Méheut, Quillivic, Creston.
All the aesthetics of wood engraving were addressed by these engravers from Brittany and are covered in this work.
Through the Breton example, this constitutes a true history, which was still lacking, of wood engraving in the 19th and 20th centuries.