Feb 3
Séverine Pierron, 40 years after, the secrets of a now-iconic logo, Centre Pompidou, Paris, November 10, 2020
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Séverine Pierron, 40 years after, the secrets of a now-iconic logo, Centre Pompidou, Paris, November 10, 2020
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The legs dissolve. That's the first thing that catches you. William-Adolphe Bouguereau's "Study of Satyr for Nymphs and Satyr" is a preparatory oil study - and the unfinished parts are where it gets genuinely interesting. The torso is fully realized: every fiber of the latissimus, the obliques, the deltoid catching that strong top-left studio light. But below the waist, the figure melts into raw umber washes and bare canvas weave. You're watching a master decide, in real time, what matters and what doesn't. This was preparation for the famous "Nymphs and Satyr" (1873), the massive canvas that ended up hanging in the bar of New York's Hoffman House hotel for decades before landing at the Clark Art Institute in Williamstown. The final painting shows four nymphs dragging a satyr toward water - playful, theatrical, every square inch polished to Bouguereau's signature porcelain finish. This study strips all that away. No mythology, no narrative. Just a male body coiled in a crouch, left hand splayed open with individually modeled fingers, every tendon visible. The right arm barely exists - a single thin brushstroke sketching its direction. Bouguereau made dozens of these oil studies for major compositions, each isolating a single figure's weight and motion. They're rawer, more physical than anything in the finished works. This one still carries the specific energy of held breath - and that outstretched hand, reaching past the edge of its own story, never quite arriving. Quelle: meisterdrucke.com
The Temple of Janus, perhaps by Sir Peter Paul Rubens, a preparatory study for the engraved frontispiece by Lucas Vorsterman to Volume III of Franciscus Haraeus’ Annales Ducum Brabantiae (Annals of the Dukes of Brabant)
Flemish, c. 1620-1623
pen and brown ink with brown wash over black chalk
Royal Collection Trust
Auguste Rodin - Study of a Hand, last quarter 19th-early 20th century.
Rodin was fascinated by the expressive possibilities of hands: hands gesturing in anguish as in The Burghers of Calais, small studies of hands pulsing with life, giant enigmatic hands sufficient unto themselves. The poet Rainer Maria Rilke (1875–1926), who was for a time Rodin's secretary, wrote: "There are among the works of Rodin's hands, single small hands, which without belonging to a body, are alive. Hands that rise, irritated and in wrath; hands whose five bristling fingers seem to bark like the five jaws of a dog of Hell."
Credit: The Metropolitan Museum of Art
Art Through Time
Ootje Oxenaar, Kleurstudie voor postzegels Nederland 1964 Kinderpostzegels, Maskerade, 1964 [Postzegelontwerpen, postzegels en affiches, Nationaal Archief, Den Haag]
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Ootje Oxenaar, Schetsontwerp voor postzegels Nederland 1992 Technische Universiteit Delft, 1991 [Postzegelontwerpen, postzegels en affiches, Nationaal Archief, Den Haag]
Jiří Rathouský, Italo Calvino: Kosmické grotesky. N: ČS, n.d. [Moravská galerie, Brno]
Jiří Rathouský, Italo Calvino: Kosmické grotesky. N: ČS, n.d. [Moravská galerie, Brno]