The Point and the Shadow. Nordic Drawings from the Grenoble Museum, 16th-18th Century.
Somogy| N° d'inventaire | 17980 |
| Format | 22.2 x 28 |
| Détails | 262 p., color illustrations, paperback with flaps. |
| Publication | Paris, 2014 |
| Etat | Nine |
| ISBN | 9782757207758 |
The third and final part of the triptych dedicated to the study of the collections of old drawings at the Grenoble Museum, after two works devoted respectively to Italy and France, this catalog focuses on the Nordic schools' collection, Dutch, Flemish, and German sheets, mostly from the Mesnard bequest. These one hundred and twenty sheets, spanning the 16th to the 18th century, are mostly Dutch and give a large place to the national landscape, vast panoramas, seascapes, or river views, as well as views of Italian sites that the artists brought back from their travels. The figure of Rembrandt dominates the century and his influence is evident on a whole generation of students and collaborators, among whom we can cite Ferdinand Bol. As for Bloemaert, he is the master of a whole group of artists in Utrecht, including Gerrit van Honthorst, who comes to remind us that one can live in a Protestant land while continuing to work for the Catholic Church. The Flemish school is masterfully represented by four sheets by Jordaens, to which are added some landscapes and genre scenes. Finally, the German school shows some sheets from the Augsburg school, due to the talent of Freisinger, Rugendas or Ridinger. The result of an important scientific research work, this work reveals the riches of the Grenoble collection, which remained unexplored for decades.
The third and final part of the triptych dedicated to the study of the collections of old drawings at the Grenoble Museum, after two works devoted respectively to Italy and France, this catalog focuses on the Nordic schools' collection, Dutch, Flemish, and German sheets, mostly from the Mesnard bequest. These one hundred and twenty sheets, spanning the 16th to the 18th century, are mostly Dutch and give a large place to the national landscape, vast panoramas, seascapes, or river views, as well as views of Italian sites that the artists brought back from their travels. The figure of Rembrandt dominates the century and his influence is evident on a whole generation of students and collaborators, among whom we can cite Ferdinand Bol. As for Bloemaert, he is the master of a whole group of artists in Utrecht, including Gerrit van Honthorst, who comes to remind us that one can live in a Protestant land while continuing to work for the Catholic Church. The Flemish school is masterfully represented by four sheets by Jordaens, to which are added some landscapes and genre scenes. Finally, the German school shows some sheets from the Augsburg school, due to the talent of Freisinger, Rugendas or Ridinger. The result of an important scientific research work, this work reveals the riches of the Grenoble collection, which remained unexplored for decades.