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daheshisme

a presentation about dahesh books

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daheshisme

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  1. Rosa Bonheur (French, 1822-1899)Grazing Sheep in the PyreneesOil on canvas, 12 5/8 x 17 15/16 in.Gift of Mrs. MervatZahid, 1997.46 Bouguereau was the consummate academician and ranked among the most commercially successful painters of the 19th century. His popularity rested, in large part, on his technical facility, his ability to create paintings whose polished surfaces, nuanced lighting, and delicate tints achieve an almost photographic verisimilitude. One of his favorite motifs was the idealized peasant girl dreamily engaged in various rustic activities. The innocence and simple grace of this subject (who appears far cleaner than her real-life counterparts would have been) epitomize the sentimental, non-threatening peasant archetype preferred by Bouguereau’s upper-class patrons

  2. Bourgeois won the Prix de Rome in 1863, the same year he created and exhibited the plaster version of The Snake Charmer. A year later, Emperor Napoleon III (reigned 1852-1870) ordered a life-size bronze which now stands in the Jardin des Plantes in Paris. The Snake Charmer would become one of Bourgeois’s most popular works, as confirmed by the many reductions that were made of it, like this one. The sculpture reflects the wide-ranging debate within academic art that revolved around the dominance of the classical ideal. Several artists attempted to expand the notion of the classical ideal by, for example, depicting Africans and other people of color.  Charles Arthur Bourgeois (French, 1838-1886)The Snake Charmer, modeled 1863Bronze, 22 1/4 in.2002.49

  3. Lefebvre identifies Diana, the goddess of the hunt, with her bow and the crescent moon on her head. But, under the guise of mythological subject matter, Lefebvre presents Diana as a sensual female nude, rendered in porcelain tones, her body highlighted against the blue fabric and a dark background. As one critic observed in 1881, Lefebvre’s name evokes images of a “thousand adorable creatures, of which he is the father … and better than anyone else caresses, with a brush both delicate and sure, the undulating contour of the feminine form.” Jules Joseph Lefebvre, French, 1836-1911DianaOil on panel, 12 x 10 1/2 in.Signed lower left: Jules Lefebvre1996.19

  4. While Desrais is primarily known as a prolific book illustrator in late 18th-century France, he also produced historical compositions that chronicled his time. During the French Revolution, he portrayed high-profile murder scenes such as the Assassination of Deputy Louis-Michel Le Peletier de Saint-Fargeau, 20th January 1793 (MuséeCarnavalet, Paris), as well as pro-revolutionary allegories, The Triumph of Bonaparte, Allegory of the Concordat and of the Peace of Amiens (also MuséeCarnavalet). With A Royalist Allegory, Desrais captures the mood of France in 1814, when the Catholic Bourbons returned to the throne, and religious imagery, long out of favor, returned in full force. Claude-Louis Desrais (French, 1746-1816)A Royalist Allegory, ca. 1814Pen and brown ink with brown and gray washes and white gouache over black chalk, 15 3/4 x 22 1/16 in.

  5. These three sketches follow the typical working process of an artist developing a composition in various degrees of finish before starting the final canvas. The basis is a study after lo Spinario or The Thorn Puller, a well-known Greco-Roman bronze today din the Palazzo deiConservatori, Rome, and copied many times, beginning in the Renaissance. Dagnan-Bouveret worked from a bronze version of the sculpture, creating two graphite sketches of the face from different views. The artist revisited lo Spinario in red crayon, conté crayon and charcoal, using this study to guide his drawing of a live model. Like many academic artists of his generation, Dagnan-Bouveret used oil studies (as well as photographs) in the preparation of a final composition. 0 Pascal-Adolphe-Jean Dagnan-Bouveret, French, 1852-1929Three Studies of a Man’s Head in Profile Pencil and red crayon on paper, 11 11/16 x 8 3/16 in.

  6. مؤلفات حول الداهشية

  7. This painting is based on the penultimate scene from the Histoire du Chevalier des Grieux et de ManonLescaut, the 1731 novel by the AbbéPrévost. Set in early 18th-century Paris and Louisiana, it tells the tragic story of the nobleman des Grieux and his worldly, unfaithful mistress Manon. In 1884, Jules Massenet’s opera Manon premiered in Paris. Its success probably led Leloir, who designed theater posters for Massenet’s operas, to illustrate a new edition of the novel published the following year, and contains a drawing with a similar composition as seen in this painting. Maurice Leloir (French, 1853-1940)ManonLescaut, 1892Oil on canvas, 41 9/16 x 63 3/8 in.2001.12

  8. Charles Bargue (French, 1826/7-1883)Angel Blowing a Trumpet (after Michelangelo’s Last Judgment in the Sistine Chapel)Lithograph, impression on gray paper, 23 7/8 x 18 1/2 in.2001.17 All original lithographs from the Drawing Course in the collection of the MuséeGoupil in Bordeaux were shown in an exhibition at the Dahesh Museum of Art (Charles Bargue: The Art of Drawing, November 25, 2003 – February 8, 2004). That exhibition coincided with the republication of the complete Drawing Course. This book by Gerald Ackerman can be ordered through the Museum’s Giftshop

  9. Lawrence Alma Tadema (British (born in the Netherlands), 1836-1912)The Staircase, 1870Oil on panel, 16 3/4 x 3 3/4 in2000.18 Alma Tadema was the pre-eminent painter of classical genre scenes. Full of accurate archeological details, his pictures generally focused not on dramatic events, but on domestic scenes and daily life. Such paintings were quite popular with the Victorian public, who saw in them an ancient, costumed reflection of their own bourgeois lives. The Staircase was submitted by the artist as a lottery prize to a London exhibition for the benefit of the “Distressed French Peasantry” in districts occupied by the German army during the Franco-Prussian war (1870-71). Alma Tadema posed himself a formidable challenge in dealing with such an unusually shaped panel.

  10. This painting, which addresses issues of class and religion in the late Ottoman Empire, is the masterwork of this German artist who devoted himself to Orientalist themes. Bauernfeind began his first journey to the Middle East in 1880, after learning about the region from his brother-in-law, a missionary in Beirut. Two more extensive trips in the 1880s took him through Egypt, Syria, and Palestine. In 1898 he settled in Jerusalem, where he lived until his death. From the time of his first visit, Bauernfeind was captivated by Jaffa, and in an 1885 letter to his sister he described several aspects included in this painting: “[. . .] what I saw here during the departure of the military conscripts, with the women chasing after them in dinghies far out into the sea …. Gustav Bauernfeind (German, 1848-1904)Jaffa, Recruiting of Turkish Soldiers in Palestine, 1888Oil on canvas, 58 1/2 x 110 1/4 in.1999.4

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