Roger Mark Claude (4 results)

First edition, first printing. Near fine paperback exhibition catalogue with loose binding and an inscription. Note, ABE will suggest that this is a signed copy. This is not the case - the catalogue is NOT signed by the author.

Hardcover. Condition: Very good condition. Dust Jacket Condition: Very good. 208 pp. Catalogue of the exhibition held at the Art Institute of Chicago, 27 February - 30 May 2011, and under the title France 1500: Entre Moyen Age et Renaissance, at the Galeries nationales, Grand Palais, Paris, 6 October 2010 - 10 January 2011. LCC: 2010918540.

Couverture souple. Condition: Très bon. Pas de jaquette. Institut Universitaire de France, 1998 Département de Lettres Anciennes de l'Université de Nantes - In-4° broché, couv. cart., 244 pp. + table, très bon état.

Hard Back. Condition: Very Good. Dust Jacket Condition: Very Good. First English Edition. 56 Pages. Cream boards with maroon spine and front lettering. Dust jacket has $2.95 flap price and the top back has some light wrinkling that can also be lightly felt on the last few pages. Today (1954) nobody doubts that Daumier is one of the great masters of French art. In these fifty-eight drawings of charcoal, pen, and chalk, we recognize the artistic genius of the man who was revered by Rousseau and Daubigny, whose work was bought by Corot, and whose drawings were analyzed with the most passionate interest by Baudelaire. Ingres used to hide himself every Thursday from his pupils so he could take time to admire Daumier's newest caricature at the nearest bookseller. He is known to the public as a fierce satirist who, with a few strokes of his pen, demolishes jury, hypocritical advocate, and conceited judge alike; but in this book we find him also in his leisure time when he creates those little-known drawings which contain the most essential factors of his art. Today we are beginning to understand this -- that he has created Realism ten years earlier than Corot and Impressionism twenty years before Monet. Here, in his charcoal drawings, his rich imagination changes from velvet-blacks to silver-greys, and he underlines the contrast of the tones so that the charcoal becomes as varied as crayon. The pen in Daumier's inspired hands shows a similar agility. Everything moves before our eyes. Here are the people in their everyday lives and motions -- the mother indolently suckling a child while she is blowing on her soup spoon, a housewife looking for bargains in the market place, beer drinkers arguing politics under a shady tree, tight-rope walkers moving their belongings -- their gay costumes in tragic contrast to their abject poverty. He has tenderness and pity for the common people, but he also shows them up for their stupidity and maliciousness in such drawings as Third-Class Carriage. But he reserves most of his venom for members of the propertied classes -- The Amateur smiling knowingly at the Venus of Milo; the three judges listening avidly to the tale of a small innocent in the picture In Cam era; Moliere's Malade Imaginaire in a grimace of hypochondriac suffering. For anyone who understands superb craftsmanship and does not mind laughing at the foibles of his fellow-men, and perhaps his own, here is a book of inexhaustible enjoyment. Contents: Foreword ( Preface) by Clark Roger-Marx, Introduction by Jean Adhemar, Biography (Single-page timeline), Bibliography, Notes on the Plates, and Plates (58).