Tinterow, Gary and Henri Loyrette

ISBN 10: 0810964856 / ISBN 13: 9780810964853
Editore: Metropolitan Museum of Art/Harry N. Abrams, New York, 1995
Condizione: Very Near Fine Brossura
Da Warren Berry (Ashville, NY, U.S.A.)

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Stiff, glossy covers, front cover is color-illustrated. 12 by 9 inches. 486 pages. Issued in conjunction with the exhibition held in Paris and New York. Two faint creases in spine, smal very faint smudge on fore edge. Codice inventario libreria 007435

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Casa editrice: Metropolitan Museum of Art/Harry N. Abrams, New York

Data di pubblicazione: 1995

Legatura: Soft Cover

Condizione libro:Very Near Fine

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This handsome publication, which accompanies a major exhibition at The Metropolitan Museum of Art, is a lively and engaging account of the artistic scene in Paris in the 1860s, the years that witnessed the beginnings of Impressionism. For the first time the interactions and relationships among the group of painters who became known as the Impressionists are examined without the over-worn art historical polarities commonly evoked: academic versus avant-garde, classicist versus romantic, realist versus impressionist. A host of strong personalities contributed to this history, and their style evolved into a new way of looking at the world. These artists wanted above all to give an impression of truth and to have an impact on or even to shock the public. And they wanted to measure up to or surpass their elders. This complex and rich environment is presented here—the grand old men and the young turks encounter each other, the Salon pontificates, and the new generation moves fitfully ahead, benignly but always with determination.

Origins of Impressionism gives a day-by-day, year-by-year study of the genesis of an epoch-making style. Nine essays review the Parisian art world before Impressionism ("The Salon of 1859") and the traditional genres both as they were known and as they would be transformed by the New Painting ("History Painting," "Realist Landscape," "The Nude," "Figures in Landscape," "Still Life," "Portraits and Figures," "Impressionist Landscape," and "Modern Life"). Each is illustrated with an abundance of works by the new artists as well as by those who made up the rest of the artistic milieu. The breadth and depth of the art world become evident and our understanding is further expanded by a wealth of contemporaneous comments and criticism. The relations between artists—Manet and Degas, Cézanne and Pissarro, Monet and Bazille, among others—are made clear, and their implications are explored. Insightful commentary brings new dimensions to Monet, Fantin-Latour, and Renoir. Throughout, the history of this period is greatly augmented and much sharpened.

Bibliographies and provenances are provided for each of the almost two hundred works in the exhibition, and there is an illustrated chronology. With more than two hundred superb color plates, this informative survey is an essential work for both the general reader and the scholar. [This book was originally published in 1994 and has gone out of print. This edition is a print-on-demand version of the original book.]

From Library Journal:

This remarkable exhibition catalog was published in conjunction with an important retrospective exhibition first held at the Galeries Nationales du Grand Palais in Paris and then at the Metropolitan Museum of Art in New York. The book opens predictably with the well-documented and critically researched Salon of 1859. However, the subsequent eight chapters discuss how various artists interpreted specific genre (e.g., history painting, the nude, still life) while employing impressionist technique. These sections are profusely illustrated and well documented with supplementary photographs. The footnotes are cleverly arranged as sideheads on each page, which makes this book a more useful tool for further research, but unfortunately they were not translated from the original French. The remaining 200 pages include a chronology of works in the catalog, a historical chronology from 1859 to 1870, and the exhibit catalog itself arranged alphabetically by artist. The thorough, scholarly apparatus provided for each exhibited work is exemplary. This book should be acquired by all types of libraries for knowledgeable readers in the field.
P. Steven Thomas, Illinois State Univ., Normal
Copyright 1995 Reed Business Information, Inc.

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