Once described as "the most beautiful painter's drawings in existence," Georges Seurat's mysterious and luminous works on paper played a crucial role in his short, vibrant career. This comprehensive publication surveys the artist's entire oeuvre, from his academic training and the emergence of his unique methods to the studies made for his monumental canvases. Accompanying the first exhibition in almost 25 years to focus exclusively on Seurat's drawings, this volume presents approximately 130 works, primarily the artist's incomparable cont drawings along with a small selection of oil sketches and paintings. In an effort to bridge the seemingly opposite goals of description and evocation, Seurat masses dark and light tones to abstract figures, exploits medium and paper to amplify radiating light, and engages with the Parisian metropolis, revealing urban types, the industrial suburbs and nineteenth-century entertainment. Though Seurat is perhaps best known as the inventor of Pointillism, this volume demonstrates his tremendous achievement as a draftsman and his fundamental importance to the art of the twentieth century. It includes carefully selected details of the work, as well as reproductions from pages of Seurat's sketchbooks, which have never before been published. Texts by Jodi Hauptman, Karl Buchberg, Hubert Damisch, Bridget Riley, Richard Shiff and Richard Thomson address specific aspects of Seurat's techniques, materials, and subject matter. They are rounded out by a chronology, a selected bibliography and a detailed checklist.

Fernand Leger (1881-1955) is the only modern artist to choose modernity itself as his subject. From his early series Contrastes de formes (1913-14), the first fully abstract works to emerge from Cubism, through his last realistic paintings of construction workers from the early 1950s, Leger's lifelong subject was the pulse and dynamism of contemporary life.

A towering figure in 19th-century art, Degas is best known as a painter and chronicler of the ballet. In the 1870s, during an era of enthusiasm for experimental printmaking, Degas was introduced to the monotype process - drawing in black ink on a metal plate that was then run through a press, typically resulting in a single print. Captivated by the medium's potential, Degas made more than 300 monotypes during two discrete bursts of activity, from the mid-1870s to the mid-1880s, and again during the early 1890s. Taking the medium to new and radical heights, the artist abandoned the academic drawing style of his youth, inventing a new repertoire of mark-making that included wiping, scratching, abrading, finger printing and rendering via removal. Frequently, he used monotypes as a starting point from which an image could be reworked, revised, and re-crafted, often with pastel. Degas explored a variety of subject matter in these works, including scenes of modern life; harshly illuminated café singers; ballet dancers onstage, backstage, or in rehearsal; the life of the brothel; intimate moments at the bath; and landscapes. Degas's engagement with monotype had broad consequences for his work in other mediums; repetition and transformation, mirroring and reversal - all essential to Degas's work in monotype - was an ongoing logic of his work in drawing, painting, and pastel. Published to accompany an exhibition at The Museum of Modern Art, this richly illustrated catalogue presents approximately 180 monotypes along with some 50 related works, including paintings, drawings, pastels, sketchbooks and prints. Essays and case studies by curators, scholars and conservators explore the creative potency of Degas's rarely seen monotypes, and highlight their impact on his wider practice.

Henri Matisse is one of the leading figures of modern art. His unparalleled cut-outs are among the most significant of any artist's late works. When ill health first prevented Matisse from painting, he began to cut into painted paper with scissors as his primary technique to make maquettes for a number of commissions, from books and stained glass window designs to tapestries and ceramics. Taking the form of a 'studio diary', the catalogue re-examines the cut-outs in terms of the methods and materials that Matisse used, and looks at the tensions in the works between finish and process; and drawings and colour.

"Published in conjunction with the exhibition Picasso to Warhol: Fourteen Modern Masters (October 15, 2011-April 29, 2012)"-- T.p. verso.

While art history has made room for the flurry of movements that emerged in the period following World War II, the myriad artistic developments of the last thirty years have yet to be assigned firm historical categories. Drawing from the Modern, 1975–2005, the final installment in a series of inaugural-year exhibitions produced by the Department of Drawings, attempts to tell a provisional story of the years from 1975 to the present, as reflected through MoMA's singular drawings collection. While making no claims to comprehensiveness, the installation details both the blossoming of different art positions on a broad, international scale in this era, and the coming of age of drawing as an independent—and for many artists, primary—mode of expression.Organized chronologically and in loose clusters of artists working in the same milieu or vein of interest, the exhibition features works by more than fifty artists, including Bruce Nauman, Gerhard Richter, Martin Kippenberger, Marlene Dumas, Gabriel Orozco, Kara Walker, and Luc Tuymans.

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Published on the occasion of the exhibition held at the Museum of Modern Art, New York, Mar. 30-Aug. 29, 2005.