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By Metropolitan Museum of Art, Egbert Haverkamp-Begemann, Mary Tavener Holmes, Fritz Koreny, Donald Posner, Duncan Robinson

Early ecu artwork used to be a eating curiosity of either Robert Lehman and his father, Philip Lehman, an curiosity mirrored within the outstanding quantity and caliber of drawings they owned from the 15th and early 16th centuries. as well as a tremendous staff of early German drawings, the gathering encompasses a «Saint Paul» from a sequence linked to Jan van Eyck and the well-known «Scupstoel» from the circle of Rogier van der Weyden, the single layout for an ornamental sculpture to outlive from the 15th century. the nice artists of the 17th century, Peter Paul Rubens, Jacob Jordaens, Claude Lorrain, and Rembrandt between them, also are represented, Rembrandt via seven drawings, together with the massive learn of Leonardos «Last Supper» that will remain in his brain throughout his occupation. Drawings through Antoine Watteau, Jean-Honoré Fragonard, Gabriel de Saint-Aubin, Thomas Gainsborough, Paul Sandby, and George Romney are one of the from eighteenth-century France and England. the amount discusses all 153 drawings at size, putting each one in its paintings old environment and complementing the dialogue with comparative illustrations of similar works.

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Extra resources for Fifteenth- to Eighteenth-Century European Drawings in the Robert Lehman Collection Central Europe, the Netherlands, France, England

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Means, you get at once life, interest, and variety so great, that one might continue By this this lengthy already became sceptic tedious, believe quite explanation and yet in fail to until make absolute the sim- forms underlying plicity of the skeleton it the all pattern. The foliated scroll, as you see it, for example, in Roman Renaissance Arabesque (or almost as though it or even in Plate 32), looks were impossible of geometric construction. And, of built up. course, it But, for familiar lines.

Skeleton Plans. 43 when you make the By that means a good test of your design, lave roughed it out on one plan, to It is inished drawing on another. row see it, as it were, from two points of view, ind can form a very fair idea as to how it epeats, without drawing much of the repeat. practical designer, who has learnt not attach great value to the appearance of design as a drawing, often cuts it up de- The o lis iberately, and re-arranges the :he better to parts, in order A prove his repeat. design on square he cuts into four equal parts, and •e-arranges the quarters, so that what were the :he :orners of the design come together and form he centre, and so on.

Plates 20 and 21, the one taken from an old Sicilian silk — the other from a coarse woollen fabric of the 15th century. In Plate 22 may further be seen what influence pattern. the material may There was a whole of this kind schemed in the 1 exercise upon class of patterns 5th and i6th cen- turies, with the obvious purpose of disturbing as little as possible of the rich pile of the velvet for which they were designed. Practical Pattern Planning. The turning over of the pattern is essena weaver's device.

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