Great Animal Drawings and Prints (Dover Fine Art, History of Art)

By Carol Belanger Grafton

From Rembrandt's huge elephant and Toulouse-Lautrec's prancing circus steed to Rubens' masterly brush-and-ink research of a lion, this specified assortment portrays all demeanour of creatures from the animal state. greater than a hundred royalty-free illustrations — 17 in colour — comprise incredible works through: Hieronymus Bosch, Albrecht Dürer, Anthony van Dyck, Francisco Goya, Leonardo da Vinci, Pieter Bruegel the Elder, Diego Velazquez, Fra Bartolommeo, Katsushika Hokusai, John James Audubon, Edgar Degas, Pablo Picasso, and lots of different masters.
A marvelous archive of conscientiously chosen works by way of celebrated artists, from Renaissance luminaries to twentieth-century masters, this wealthy pictorial legacy could be prized by way of animal enthusiasts up to will probably be valuable through devotees of excellent art.

Show description

Quick preview of Great Animal Drawings and Prints (Dover Fine Art, History of Art) PDF

Similar Art History books

Art in Renaissance Italy: 1350-1500 (Oxford History of Art)

The Italian Renaissance used to be a pivotal interval within the heritage of Western tradition within which artists equivalent to Masaccio, Donatello, Fra Angelico, and Leonardo created the various world's so much influential and fascinating works in numerous creative fields. the following, Evelyn Welch provides a clean photograph of the Italian Renaissance by means of tough conventional scholarship and putting emphasis on recreating the adventure of up to date Italians: the consumers who commissioned the works, the individuals of the general public who seen them, and the artists who produced them.

Oxford World's Classics: NoteBooks (World Classics)

'Study me reader, in the event you locate take pleasure in me. .. Come, O males, to work out the miracles that such reports will divulge in nature. ' so much of what we all know approximately Leonardo da Vinci, we all know as a result of his notebooks. a few 6,000 sheets of notes and drawings live to tell the tale, which symbolize maybe one-fifth of what he really produced.

Relationscapes: Movement, Art, Philosophy (Technologies of Lived Abstraction)

With Relationscapes, Erin Manning deals a brand new philosophy of flow not easy the concept circulation is straightforward displacement in house, knowable purely by way of the particular. Exploring the relation among sensation and idea throughout the prisms of dance, cinema, artwork, and new media, Manning argues for the depth of circulate.

From Margin to Center: The Spaces of Installation Art

In contrast to conventional artwork works, install paintings has no self sustaining life. it's always created on the exhibition web site, and its essence is spectator participation. install paintings originated as a thorough artwork shape provided basically at substitute paintings areas; its assimilation into mainstream museums and galleries is a comparatively fresh phenomenon.

Additional resources for Great Animal Drawings and Prints (Dover Fine Art, History of Art)

Show sample text content

Despite the fact that, republication or replica of any representation by way of the other photo provider, even if or not it's in a ebook or in the other layout source, is precisely prohibited. 9780486145594 synthetic within the united states Dover guides, Inc. , 31 East 2d road, Mineola, N. Y. 11501 desk of Contents identify web page Copyright web page record OF PLATES checklist OF PLATES Frontispiece: PETER PAUL RUBENS (1577–1640) learn for the Portrait of the Duke of Lerma. Pen over black chalk and wash. three hundred x 215 mm. 1 JOST AMMAN (1539–1591) Saint Nicholas. Pen and ink, heightened with white, on crimson ready paper. 301 x 197 mm. 2 JOST AMMAN (1539–1591) Stag. Pen and black ink. 109 x ninety one mm. three ANDREA DEL SARTO (1486–1531) reports of a puppy. crimson chalk. one hundred ninety x 253 mm. four FRANCIS BARLOW (1626–1704) Elephant and Rhinoceros. Pen and wash. 250 x 185 mm. five FRA BARTOLOMMEO (1472–1517) St. George and the Dragon. Black, white, and yellowish chalk on grey ready paper. 317 x 272 mm. 6 ANTOINE-LOUIS BARYE (1796–1875) Jaguar. Pencil and watercolor. 253 x 247 mm. 7 STEFANO DELLA BELLA (1610–1674) The Eagles. Etching. 154 x one hundred twenty mm. eight ROSA BONHEUR (1822–1899) Bull Resting. gentle black pencil. 299 x 437 mm. nine HIERONYMUS BOSCH (c. 1450–1516) The Owl’s Nest. Pen and brown ink, laid down. a hundred and forty x 196 mm. 10 EDMÉ BOUCHARDON (1698–1762) Bull’s Head. crimson chalk. 607 x 454 mm. eleven FRANÇOIS BOUCHER (1703–1770) learn of a hen. Black, crimson, and white chalk on brownish-gray paper. one hundred seventy x 2 hundred mm. 12 PIETER BRUEGEL THE ELDER (1525/30–1569) Rider and Horses. Pen and bistre over black chalk. 164 x 184 mm. thirteen ANTONIO DEL CASTILLO (1616–1668) Camels. Quill pen. 166 x 246 mm. 14 THÉODORE CHASSÉRIAU (1819–1856) Amazon. Black crayon. two hundred x 270 mm. 15 GIORGIO DE CHIRICO (1888–1978) Cavalo. Charcoal on paper. 148 x 211 mm. sixteen ALLAERT CLAESZ (1498–1562) Rider. Pen and bistre wash. 323 x 312 mm. 17 CLAUDE (CLAUDE LORRAIN) (1600–1682) best: The Campo Vaccino with the Basilica of Constantine. Pen and bistre wash. 128 x ninety three mm. backside: Oxen coming near near a Mountain Lake. Pen and brown ink, and wash. 104 x one hundred fifty mm. 18 EDGAR DEGAS (1834–1917) Racehorse and Jockey. crimson chalk. 283 x 418 mm. 19 EDGAR DEGAS (1834–1917) research for ‘Steeplechase—The Fallen Jockey’: the pony. Charcoal. 231 x 355 mm. 20 EUGÈNE DELACROIX (1798–1863) A Horseman. Pen and sepia wash. a hundred ninety x 230 mm. 21 GASPARE DIZIANI (1689–1767) Hermit and a Stag. Pen, brown ink and wash over purple chalk on skinny ecru paper. 273 x 197 mm. 22 ALBRECHT DÜRER (1471–1528) Sketches of Animals and Landscapes (detail). Pen and black ink; blue, grey, and rose wash. 264 x 397 mm. 23 ALBRECHT DÜRER (1471–1528) The Knight on Horseback. Pen and brown ink with watercolor on white paper. 410 x 324 mm. 24 ALBRECHT DÜRER (1471–1528) Head of a Roebuck. Watercolor. 228 x 166 mm. 25 ALBRECHT DÜRER (1471–1528) The Italian Trophies. Pen and black ink on white paper, a number of pentimenti. 432 x 316 mm. 26 ANTHONY VAN DYCK (1599–1641) experiences of a Horse. Black chalk, with white chalk highlights, on blue paper. 429 x 366 mm. 27 ANTHONY VAN DYCK (1599–1641) stories of the pinnacle of a Horse and of a guy on Horseback.

Download PDF sample

Rated 4.21 of 5 – based on 38 votes