Edité par The Studio Limited, London, 1925
Vendeur : Blind-Horse-Books (ABAA-FABA-IOBA), DeLand, FL, Etats-Unis
Edition originale
EUR 21,12
Autre deviseQuantité disponible : 1 disponible(s)
Ajouter au panierHardcover. Etat : Good. Pale blue paper over boards, elaborate black frame and title on paper cover label. Oblong; 30.5 cm x 25 cm. 8 pages of introduction. Illustrated with 12 full-page tipped-in etchings each protected by a captioned tissue guard. Back strap [spine] replaced with blue book cloth; The bindings are firm. Text clean, light even toning. Moderate shelf handling wear. No Flaws to Etchings or Tissue-guards. Jean-Louis Forain (1852 - 1931) was a French Impressionist painter and printmaker, working in media including oils, watercolour, pastel, etching and lithograph. Compared to many of his Impressionist colleagues, he was more successful during his lifetime, but his reputation is now much less exalted.
Edité par The Studio, 1925
Langue: anglais
Vendeur : West Cove UK, Wellington, Royaume-Uni
EUR 30,33
Autre deviseQuantité disponible : 1 disponible(s)
Ajouter au panierHardcover. Etat : Good. Immediate dispatch from Somerset. Nice older book in good condition. Some tanning wear and marking due to age. Plates are bright and good. Year 1925. Hardcover. English. See images for condition. About the book >.>.> Find little masterpieces of draughtsmanship as complete in pictorial suggestion and acute characterisation as a drawing by Charles Keene. "Decidedly the most interesting newspaper illustrator of his whole generation, the one whose ephemeral art most closely approaches grand painting"; so that excellent critic M. Camille Mauclair wrote of Forain some twenty-five years ago, classing him with the Impressionists and tracing the influence of Degas. The astonishing power, the nervous character, the science of Forain's drawing, every stroke a revelation, the satirical import of his illustrations and cartoons, the significance and interest of his paintings, of all these M. Mauclair spoke, but he made no men-tion of Forain ever having been an etcher, doubt-less regarding those early plates as artistically negligible. In only one of these, La Traite des blanches, do I find the linear treatment and com-passionate significance suggesting any affinity with the later etching.