George Rouault's Miserere et Guerre This Anguished World of Shadows
|Autore/i||Holly Flora, Soo Yun Kang|
|Editore||D. Giles Ltd - MOBIA Museum of Biblical Art||Luogo||Londra - New York|
|Dimensioni||23x29 (cm)||Illustrazioni||78 ill. b/n - b/w ills|
|Legatura||bross. ill. - paperback||Conservazione||Usato buone condizioni- Used Good|
|Lingua||Inglese - English Text||Peso||1300 (gr)|
Preface by Ena Heller.
Presents one of the very few remaining intact series showing all 58 plates from Miserere et Guerre out of the 450 editions originally printed in 1948.
A dying, shipwrecked man utters his last sentence, declaring that tomorrow will be beautiful. A poor woman struggles down the road carrying a heavy load on her back. A barren suburban street is outlined in shadows. These are among the haunting impressions in Georges Rouault’s Miserere print series, originally titled Miserere et Guerre (“Have mercy,” a quotation from Psalm 51, and “War”). This portfolio was initially commissioned in 1914, but remained unpublished until 1948, by which time Rouault had witnessed the immense destruction of World Wars I and II, and with them, the complete transformation of the European landscape. This Anguished World of Shadows: Georges Rouault’s Miserere et Guerre presents all fifty-eight prints from the series, offering a close look at this artist’s poignant commentary on the hardships of war and the promise of redemption. Rendered with thick black outlines and diffused gray tonalities that evoke the smoke and darkness of a world destroyed, the Miserere prints simultaneously have the luminescence of stained glass, hinting of light breaking through darkness. While sombre, the prints also carry the message of hope for renewal and rebirth, for as Rouault knew well, behind every shadow is a source of light. Of the 450 editions of the Miserere originally printed, only a limited number remain intact; the series featured in this volume, is a generous loan from a private collector. This new colour catalogue features over seventy images, including all fifty-eight plates from the Miserere. The catalogue features contributions from MOBIA’s curatorial staff, including an essay on Rouault’s printmaking techniques by Dolores DeStefano and a bibliography.
About the Author(s)
Soo Yun Kang is currently associate professor of Art History at Chicago State University. Her major publications on Georges Rouault are Rouault in Perspective: Contextual and Theoretical Study of His Art (2000), and "A Spiritual Interpretation of the Vernacular: The Literary Sources of Georges Rouault," published in Logos 6:2 (Spring 2003).
Holly Flora is curator of Exhibitions at MOBIA. She received her Ph.D. in art history from the Institute of Fine Arts, New York University. Dr. Flora is also adjunct assistant professor of Art History at both City College and Hunter College, New York, and is on the lecturing staff of the Cloisters Museum. Dr. Flora’s recent projects for MOBIA include the 2005–2006 exhibitions Let There Be Light: Oil Lamps from the Holy Land and This Anguished World of Shadows: Georges Rouault’s Miserere et Guerre.
Usato in buone condizoni. (P-H8).
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