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vi         Foreword

            Gary Vikan

viii       Introduction

            William R. Johnston

2          The Life and Career of Antoine-Louis Barye

            William R. Johnston

16        Barye and the Critics

            Simon Kelly

26        The Surtout de Table of the Duc d'Orléans

            Isabelle Leroy-Jay Lemaistre

42        Barye as Painter

            Simon Kelly

52        Barye 's American Patrons

            William R. Johnston

66        The Art Bronze Foundry of Antoine-Louis Barye

            Ann Boulton

74        The Language of Bronze Casting

            Julie Lauffenburger

79        Catalogue of Barye's Works

            William R. Johnston and Simon Kelly

242      APPENDIX A: The Founders and Editors of Barye's Bronzes

            Joseph G. Reinis

248      APPENDIX B: The Business of Bronze: The Account

            Book of Barye and Company

            Simon Kelly

254      APPENDIX C: Letters from Barye and His Family

            to Alfred Bruyas, 1872-1875

            Simon Kelly

260      APPENDIX D: Barye Bronzes, Models, and Paintings in the Walters

            Collection Not in the Exhibition

264      Abbreviated References and Supplementary Bibliography

268      Index

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Untamed the art of Antoine Louis Barye

Writer : Johnston Williams

Editor : Prestel

60.00 €


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France free delivery to 29 €

Availability : 15 Days

Pub year : 2006

Pages : 274

Collection :

S : 26X30

Pictures : OUI

Includes colors : OUI

Binding : Relié sous jaquette

Language : Anglais

ISBN : 9782791336022

Museum catalogue : -

Exhibition catalogue : -

Complete Catalogue : -

Marks :

Quote : -

Bibliography : oui

Index : oui

Glossary : -

EAN : 9782791336022

Antoine-Louis Barye's animal sculptures are celebrated as much for their technical brilliance and painstaking detail as for their uncanny resemblance to their subjects. Principally known as an animal sculptor, he was also a consummate modeler of the human form. This volume gathers Barye's works from the Walters Art Museum in Baltimore, whose collection of the artist's work is second only to that of the Louvre. In addition to the artist's magnificent and anatomically accurate sculptures, the book also features his often-overlooked paintings and drawings. A critical examination of his techniques draws on recent conservation work, and thoughtful assessments of the critical debates surrounding his work provide new insights for scholars and enthusiasts of nineteenthcentury sculpture.
 

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