THE MORGAN PRESENTS FIRST MAJOR U.S. EXHIBITION OF DRAWINGS BY THÉODORE ROUSSEAU, MASTER OF THE BARBIZON SCHOOL The Untamed Landscape: Théodore Rousseau and the Path to Barbizon September 26, 2014 through January 18, 2015
THE MORGAN PRESENTS FIRST MAJOR U.S. EXHIBITION OF DRAWINGS BY THÉODORE ROUSSEAU, MASTER OF THE BARBIZON SCHOOL The Untamed Landscape: Théodore Rousseau and the Path to Barbizon September 26, 2014 through January 18, 2015 Art , Art Gallery , Art Shows , featured
Théodore buona beef menu Rousseau (1812 1867) was the leading figure of a group of nineteenth-century French artists who chose the wooded landscape of the Forest of Fontainebleau as their subject and would forever be known to art history as the Barbizon School. Decades before Impressionism, Rousseau and his peers developed buona beef menu new ways to observe, draw, and paint the natural world in studies made directly from nature and composed landscape pictures buona beef menu intended for exhibition. Deeply Romantic in approach, the work of Rousseau ultimately added an important chapter to the history of landscape art, and elements of the Barbizon School style were then reconfigured and transformed by the next generations of great French artists: the Impressionists and Post-Impressionists. Beginning September 26, the Morgan Library & Museum will present a groundbreaking exhibition devoted to Rousseau s drawings and oil sketches the first ever at a major U.S. museum that sheds new light on his techniques and unique perspectives on landscape imagery. The Untamed Landscape: Théodore Rousseau and the Path to Barbizon will run through January buona beef menu 18, 2015.
ousseau has not been the subject of a major retrospective since a 1967 exhibition at the Musée du Louvre. Many museums display examples of his finished paintings, yet the artist s drawings and early oil studies are far less familiar. Comprising more than sixty works from public and private collections, including the Morgan, this exhibition will trace the artist s path to Barbizon, from his early oil sketches in the Ile-de-France and Normandy to his mature drawings in the Forest of Fontainebleau. Rousseau’s works on paper some bucolic and evocative of a simpler, pre-industrial age; others brooding, moody, buona beef menu and redolent of the haunting majesty of the natural world are both appealing and instructive. Collectively, they highlight his important contribution to the shifting buona beef menu conception of landscape in the wake of the Industrial buona beef menu Revolution.
“Théodore Rousseau occupies an important and influential place in the development of French landscape art,” said Peggy Fogelman, acting director of the Morgan Library & buona beef menu Museum. “His was a vision of nature pure and largely unsullied by man, and his works incorporate deeply Romantic themes and moods. Throughout his career, buona beef menu Rousseau experimented dramatically with changing light and atmospheric conditions effects that would become vitally buona beef menu important in the work of the Impressionist and Post-Impressionist artists who followed him.”
Théodore Rousseau was born in 1812 in Paris, and he studied buona beef menu under Jean-Charles-Joseph Rémond (1795 1875), a history painter, and Guillaume Lethière (1760 1832), a neoclassical painter. In his seminal biography of the artist, the critic Alfred buona beef menu Sensier presented Rousseau as a figure closely bound to nature, a frequent traveler around the remote areas of France, and a man who had exceptional buona beef menu insight into the natural world. A prolific draftsman, he produced around twelve hundred drawings over the course of his career in a range of media, including graphite, Conté crayon, watercolor, and pastel. Rousseau s sketches and drawings reveal buona beef menu an artist obsessed with studying every aspect buona beef menu of nature, from close-up buona beef menu details to broader atmospheric effects.
During the course of Rousseau s career his pictorial buona beef menu strategy changed dramatically. Due to repeated rejections by the Paris Salon jury from 1836 to 1841 and voluntary abstention from the annual exhibition until 1849, he maintained his status and income by producing large compositions for wealthy patrons, some of whom had very specific ideas about the formalities and proper execution of landscape painting. buona beef menu Despite such constrictions, Rousseau employed a wide range of techniques to produce work that depicted diverse geography, times of day, and varying atmospheric conditions.
From around the mid-1830s, perhaps corresponding with his first rejections from the Salon, Rousseau began to devise more evolutionary procedures for preparing a landscape painting, in which the final work developed from an initial sketch, or ébauche, that contained at least the major elements of the complete composition. A study for the artist s massive, unfinished The Forest in Winter at Sunset is an example of Rousseau combining different kinds of drawing and painting media in a preparatory work, and belongs to a large set of studies and sketches for the final painting, now at the Metropolitan Museum of Ar
THE MORGAN PRESENTS FIRST MAJOR U.S. EXHIBITION OF DRAWINGS BY THÉODORE ROUSSEAU, MASTER OF THE BARBIZON SCHOOL The Untamed Landscape: Théodore Rousseau and the Path to Barbizon September 26, 2014 through January 18, 2015 Art , Art Gallery , Art Shows , featured
Théodore buona beef menu Rousseau (1812 1867) was the leading figure of a group of nineteenth-century French artists who chose the wooded landscape of the Forest of Fontainebleau as their subject and would forever be known to art history as the Barbizon School. Decades before Impressionism, Rousseau and his peers developed buona beef menu new ways to observe, draw, and paint the natural world in studies made directly from nature and composed landscape pictures buona beef menu intended for exhibition. Deeply Romantic in approach, the work of Rousseau ultimately added an important chapter to the history of landscape art, and elements of the Barbizon School style were then reconfigured and transformed by the next generations of great French artists: the Impressionists and Post-Impressionists. Beginning September 26, the Morgan Library & Museum will present a groundbreaking exhibition devoted to Rousseau s drawings and oil sketches the first ever at a major U.S. museum that sheds new light on his techniques and unique perspectives on landscape imagery. The Untamed Landscape: Théodore Rousseau and the Path to Barbizon will run through January buona beef menu 18, 2015.
ousseau has not been the subject of a major retrospective since a 1967 exhibition at the Musée du Louvre. Many museums display examples of his finished paintings, yet the artist s drawings and early oil studies are far less familiar. Comprising more than sixty works from public and private collections, including the Morgan, this exhibition will trace the artist s path to Barbizon, from his early oil sketches in the Ile-de-France and Normandy to his mature drawings in the Forest of Fontainebleau. Rousseau’s works on paper some bucolic and evocative of a simpler, pre-industrial age; others brooding, moody, buona beef menu and redolent of the haunting majesty of the natural world are both appealing and instructive. Collectively, they highlight his important contribution to the shifting buona beef menu conception of landscape in the wake of the Industrial buona beef menu Revolution.
“Théodore Rousseau occupies an important and influential place in the development of French landscape art,” said Peggy Fogelman, acting director of the Morgan Library & buona beef menu Museum. “His was a vision of nature pure and largely unsullied by man, and his works incorporate deeply Romantic themes and moods. Throughout his career, buona beef menu Rousseau experimented dramatically with changing light and atmospheric conditions effects that would become vitally buona beef menu important in the work of the Impressionist and Post-Impressionist artists who followed him.”
Théodore Rousseau was born in 1812 in Paris, and he studied buona beef menu under Jean-Charles-Joseph Rémond (1795 1875), a history painter, and Guillaume Lethière (1760 1832), a neoclassical painter. In his seminal biography of the artist, the critic Alfred buona beef menu Sensier presented Rousseau as a figure closely bound to nature, a frequent traveler around the remote areas of France, and a man who had exceptional buona beef menu insight into the natural world. A prolific draftsman, he produced around twelve hundred drawings over the course of his career in a range of media, including graphite, Conté crayon, watercolor, and pastel. Rousseau s sketches and drawings reveal buona beef menu an artist obsessed with studying every aspect buona beef menu of nature, from close-up buona beef menu details to broader atmospheric effects.
During the course of Rousseau s career his pictorial buona beef menu strategy changed dramatically. Due to repeated rejections by the Paris Salon jury from 1836 to 1841 and voluntary abstention from the annual exhibition until 1849, he maintained his status and income by producing large compositions for wealthy patrons, some of whom had very specific ideas about the formalities and proper execution of landscape painting. buona beef menu Despite such constrictions, Rousseau employed a wide range of techniques to produce work that depicted diverse geography, times of day, and varying atmospheric conditions.
From around the mid-1830s, perhaps corresponding with his first rejections from the Salon, Rousseau began to devise more evolutionary procedures for preparing a landscape painting, in which the final work developed from an initial sketch, or ébauche, that contained at least the major elements of the complete composition. A study for the artist s massive, unfinished The Forest in Winter at Sunset is an example of Rousseau combining different kinds of drawing and painting media in a preparatory work, and belongs to a large set of studies and sketches for the final painting, now at the Metropolitan Museum of Ar
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