Sketches of Simians and Savages on the Versos of Jan van Kessel’s Copper Plates (original) (raw)
2013, Boletín del Museo del Prado (2012), XXX, no. 48, pp. 72-83
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This paper explores the artistic works of Jan van Kessel the Elder, a prominent 17th-century Flemish painter, particularly focusing on his series "The Four Parts of the World." It examines the inventory and historical context surrounding the series, its exotic imagery featuring simians and savages, and the significance of its composition on copper plates in European art history.
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European drawings : catalogue of the collections
J. Paul Getty Museum eBooks, 1988
This volume represents the first in a series of catalogues of the Getty Museum's drawings collection. It contains entries on our acquisitions from 1981 through 1985 and takes into account bibliographical information through 1986. It is anticipated that future volumes will appear at more or less regular intervals marked by additions to the collection in sufficient numbers to warrant new publications. Later catalogues will also contain further material on the drawings included in this one. The format of this and future volumes will be standardized, with drawings organized by national school, alphabetically by artist's name, and then chronologically. The physical description of each sheet will mention any noteworthy irregularities. The writing and production of this catalogue have involved the assistance of many individuals. I am grateful to Lee Hendrix, Assistant Curator, and Gloria Williams, Catalogue Assistant, for their work on all aspects of the project, ranging from the drafting of the introductory biographies to the contribution of many useful ideas about individual drawings. Their specific suggestions-like those of other scholarsâ re duly noted in the appropriate places in the text. Nancy Yocco^ Conservation Assistant, carefully recorded relevant information about the condition of each drawing and the inscriptions and marks that each one bears. The entire text was reviewed and helpful criticisms offered by three readers: Diane DeGrazia, for the Italian drawings; Beverly Jacoby, for the French and Spanish drawings; and Anne-Marie S. Logan, for all of the Northern and British drawings. Giulio Bora was kind enough to read over those entries dealing with Lombard drawings and to make several helpful suggestions. Andrea P. A. Belloli took over the editorship of the catalogue at an especially difficult moment and carried out her role with the optimum blend of editorial sternness and good cheer. Patrick Dooley produced the design of the volume. Lastly, many scholars have offered suggestions. In every case I have attempted to note their contributions in the entries on individual sheets, and thank them here collectively for their advice. Notwithstanding my respect for their opinions and for those of other scholars, full responsibility for the attributions and views expressed in the catalogue is my own. Where they depart from the opinions of others they do so respectfully, but unapologetically, since I believe that each connoisseur must attempt to make his or her own judgments instead of reporting the results of scholarly polls. The publication of the first volume of our serial catalogue is an appropriate moment to thank the many people who have made possible the existence and development of the collection. Harold Williams and Otto Wittmann supported our initial purchase of the Rembrandt, and have-along with other members of the Board of Trustees-given great encouragement throughout the last six years. Since his appointment in 1983 as director, John Walsh has encouraged the evolution of a broader concept for the collection and has given me a degree of freedom and support unusual for any curator. Within the department, Lee Hendrix has been of enormous assistance with all curatorial matters, while Nancy Yocco has looked after the physical care of the drawings with exemplary dedication. Outside the Museum, Alexander Yow deserves special mention for the fine restoration work he has carried out on a number of our drawings and for his advice. In addition other scholars and dealers too numerous to list here have been of assistance in myriad ways. It is my hope that all those who have contributed to the beginnings of the collection and the i Study of a Kneeling Figure with aSketchofaFace r Figure Study and Face v Red chalk, black chalk sketch efface (recto); red chalk (verso); sheet torn horizontally and repaired; H: 27.2 cm (io jl /i6in.); W: 19.8 cm (y I3 /i6in.) 84.06.7 MARKS AND INSCRIPTIONS: (Recto) at top, right of center, inscribed jp = in black chalk superimposed on 95 in red chalk.
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