Accompanied an exhibition at The Courtauld Gallery, London, 16 June – 18 September 2011
160 pages, paperback, 260 x 216 mm, 100 illustrations
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ISBN: 978 1 907372 24 7
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Accompanying an exhibition at The Courtauld Gallery, London, this publication is the first to celebrate the important creative collaboration between the artist Henri Toulouse-Lautrec (1864–1901) and his muse, the dancer Jane Avril (1868–1943). Avril was one of the stars of Moulin Rouge in the 1890s, and was nicknamed ‘La Mélinite’ after a form of explosive. Known for her alluring style and exotic persona, her fame was assured by a series of dazzlingly inventive posters designed by Lautrec. She became an emblematic figure in his world of dancers, cabaret actors, musicians and prostitutes, but she was also one of the artist’s closest friends. Their friendship is reflected in a series of remarkable portraits in which the star is shown as a private individual, contrasting with her exotic poster image and performances at the Moulin Rouge.
Centered around The Courtauld’s painting Jane Avril in the Entrance to the Moulin Rouge, this exhibition catalogue brings together an exceptional group of paintings, posters and prints from international collections. It explores the remarkable creative partnership which captured the excitement and spectacle of bohemian Paris.
"With important loans from the Art Institute of Chicago and the Wadsworth Athenaeum supplemented with photographs of Jane and theatrical memorabilia, this is a terrific little show of the sort that the Courtauld does with panache. It also has a good catalogue, with an introductory essay by curator Nansy Ireson that I couldn't put down." – Richard Dorment, The Daily Telegraph, 21 June 2011
"The reader experience is enhanced by language that is neither technical nor complex, and the book will appeal to all readers." – Suite101, 20 June 2011
This is the first publication devoted to Walter Sickert’s remarkable group of paintings of female nudes produced in and around Camden Town between 1905 and 1912 and now considered to be among his most important and provocative works. More
This book accompanies the new display of the Courtauld family silver collection in the Courtauld Institute of Art Gallery, which opened in June 2003. All the silver presented in the book was produced or hallmarked by three generations of the Courtauld family of goldsmiths. More
"The whole thing is a curatorial and scholarly triumph ... the catalogue essays do full justice to the power of Michelangelo's intellect, as well as to hand and eye" (Richard Dorment, Telegraph). Michelangelo's Dream (or Il Sogno) is one of the finest of all Italian Renaissance drawings and is amongst The Courtauld Gallery's greatest treasures. Executed at the height of the artist's career, this magnificent work exemplifies Michelangelo's unrivalled skill as draughtsman and his extraordinary power of invention. More
As a result of generous loans of over one hundred outstanding works of art, in 2002 the Courtauld Gallery was able to extend its collection further into the twentieth century. For the first time the Gallery was able to show historically coherent groups of works representing key developments in the art history of the early 20th century. This is the catalogue to the new display. More
This book accompanied an exhibition which united La Loge for the first time with Renoir's other treatments of the subject and with loge paintings by contemporaries, including Mary Cassatt and Edgar Degas. Concentrating on the early years of Impressionism during the 1870s, the book explores how these artists used the loge to capture the excitement and changing nature of fashionable Parisian society. More
This is an overdue investigation into one of the most remarkable artistic enterprises of the seventeenth century, much cited but seldom discussed, David Teniers the Younger’s publication in 1660 of the magnificent Theatrum Pictorium or Theatre of Painting, the first illustrated and printed collection catalogue. More
This is the first book to consider Lewis’s drawing as a distinct contribution to his art, despite the importance he attributed to draughtsmanship. Lewis wrote that the line in drawing was nothing less than “the bone beneath the pulp”. “It is more difficult upon a piece of white paper ... to deceive the expert spectator than it is with a lot of oil paint upon a canvas.” This book traces his drawing from youthful figure studies and portraits to the surreal abstractions and dreamscapes of his later years. More
Accompanying an exhibition at The Courtauld Gallery, this catalogue explores one of the most important and historically neglected art forms of Renaissance Florence: cassoni – pairs of chests that were lavishly decorated with precious metals and elaborate paintings and were often the most expensive of a whole suite of decorative objects commissioned to celebrate marriage alliances between powerful families. More
This catalogue presents a rich selection of Victorian drawings and watercolours from the important collection of The Courtauld Gallery, London. It features many previously unpublished works and ranges from informal preparatory drawings for paintings and sculptures to exquisite highly finished exhibition watercolours. More
Paul Cézanne’s famous series of paintings of peasants playing cards has long been considered among his most important and powerful works. The image of seated peasants, still and seeming silent, concentrating on their game of cards, can be seen as the human counterpart to the landscapes of Cézanne’s home countryside, notably Montagne Sainte-Victoire, which held such iconic significance for him. More
This beautiful and scholarly catalogue accompanies the exhibition Mantegna to Matisse: Master Drawings from The Courtauld Gallery, organized by Colin B. Bailey, the Frick's Associate Director; Peter Jay Sharp, Chief Curator; and Stephanie Buck, Martin Halusa Curator of Drawings at The Courtauld Gallery. The drawings represent a survey of the extraordinary of Italian, Dutch, Flemish, German, Spanish, British and French artists active between the late Middle Ages and the early twentieth century. More
Sir Peter Lely (1618–1680) was Charles II’s Principal Painter and the outstanding artistic figure of Restoration England. When Lely arrived in England in the early 1640s his ambition was to be a painter of narrative scenes and not to work as a portraitist. However, the ‘subject pictures’ did not find favour with many English patrons and he produced less than thirty. As Lely’s friend Richard Lovelace explained, all they wanted was ‘their own dull counterfeits’ or portraits of their mistresses. More
The Courtauld Gallery holds the finest group of works by Paul Cézanne (1839–1906) in Britain. This is the catalogue to an exhibition showing the entire collection together for the first time, marking the culmination of The Courtauld Institute of Art’s 75th anniversary. The importance of the collection lies not only in its exceptionally high quality but also in its wide range, with seminal paintings and rarely seen drawings and watercolours from the major periods of the artist’s long career. More
Published to accompany the first substantial exhibition on the tradition of Spanish drawings to take place at The Courtauld Gallery, London, this catalogue captures the excitement and importance of this rapidly developing field of study. More
This catalogue accompanies an exhibition at Dove Cottage, Grasmere, and The Courtauld Gallery, London, which will be the first full display of the Courtauld’s outstanding collection of watercolours by J.M.W. Turner (1775–1851). The collection spans the artist’s career, ranging from an important early view of the Avon Gorge, Bristol, made when Turner was just sixteen years old, to examples of the monumental highly finished watercolours of his maturity and the celebrated expressive late works. More
This catalogue accompanied the first exhibition to bring together the seminal group of paintings of London building sites by Frank Auerbach (born 1931). Produced between 1952 and 1962, the paintings are among the most profound responses made by any artist to the post-war urban landscape. These works chart the early development of Auerbach’s remarkable approach to painting, for which he is celebrated as one of Britain’s greatest living artists. More
This is the first publication dedicated to the extraordinary series of paintings of London that André Derain produced at the height of his avant-garde notoriety, having been newly branded a Fauve or 'wild beast' in Paris for his uncompromising use of pure colour. More
This book accompanies an exhibition at The Courtauld Gallery, London, that will be the first to offer a comprehensive account of the parallel artistic paths charted by Piet Mondrian and Ben Nicholson during the 1930's. It will bring together an extraordinary group of paintings and reliefs to show how each artist was driven by a profound belief in the potential of abstract art to attain the highest aestethic and spiritual power. More
The Spooner collection of British watercolours is one of the finest of its kind, featuring all the leading artists of the period 1750–1850. Among the fine sheets included are watercolours of the Lake District by John White Abbott, and rural scenes by several artists – Gainsborough, Turner, Cozens, Rowlandson, Francis Towne, Samuel Palmer. Architecture dominates the setting in works by Girtin, Cotman and Sandby. More
The Courtauld’s Adam and Eve is arguably the most beautiful of Cranach’s fifty or more depictions of this subject. It brilliantly combines devotional meaning with pictorial elegance and invention. This exhibition catalogue explores the making and meaning of this Protestant and courtly masterpiece, and the contexts in which it was made and seen. It incorporates much conservation and technical research. More