Thomas Couture. 1815-1879. Portraits of an Era.
Somogy| N° d'inventaire | 17247 |
| Format | 17.5 x 24 |
| Détails | 63 p., color illustrations, paperback with flaps. |
| Publication | Paris, 2003 |
| Etat | Nine |
| ISBN | 9782850566844 |
Thomas Couture Notebook No. 2. Portraiture occupies a fundamental place in the work of Thomas Couture, who bequeathed to posterity the face of all of Paris at the end of the July Monarchy and the beginnings of the Second Empire. Thomas Couture is considered, through his large historical and allegorical compositions, as one of the best representatives of the eclecticism that emerged in artistic creation in the mid-19th century. At less than thirty years old, even before triumphing at the 1847 Salon with The Romans of Decadence (Paris, Musée d'Orsay), the man who would become Manet's master created several monumental effigies of personalities from the political, artistic, and intellectual worlds. At the end of the 1850s, he retired to his hometown of Senlis, then to Villiers-le-Bel. His relatives now inspired him in much freer portraits that foreshadowed, in their own way, Impressionism. Wide or tight framing of busts and faces, superb rendering of expressions, the mastery of Thomas Couture invites us to discover the secrets of the attitudes and looks of his models, solemn, dreamy or intimate.
Thomas Couture Notebook No. 2. Portraiture occupies a fundamental place in the work of Thomas Couture, who bequeathed to posterity the face of all of Paris at the end of the July Monarchy and the beginnings of the Second Empire. Thomas Couture is considered, through his large historical and allegorical compositions, as one of the best representatives of the eclecticism that emerged in artistic creation in the mid-19th century. At less than thirty years old, even before triumphing at the 1847 Salon with The Romans of Decadence (Paris, Musée d'Orsay), the man who would become Manet's master created several monumental effigies of personalities from the political, artistic, and intellectual worlds. At the end of the 1850s, he retired to his hometown of Senlis, then to Villiers-le-Bel. His relatives now inspired him in much freer portraits that foreshadowed, in their own way, Impressionism. Wide or tight framing of busts and faces, superb rendering of expressions, the mastery of Thomas Couture invites us to discover the secrets of the attitudes and looks of his models, solemn, dreamy or intimate.