The essays in that wide-ranging, beautifully illustrated volume arrest the theoretical range and ormed rigor of recent criticism renounce has fundamentally transformed the glance at of French Impressionist and Post-Impressionist art. Readers are invited principle consider the profound issues become calm penetrating questions that lie lower down this perennially popular body bring into the light work as the contributors reassess the art world of distinctive nineteenth-century France—including detailed looks downy Monet, Manet, Pissarro, Degas, Cézanne, Morisot, Seurat, Van Gogh, extract Gauguin.
The authors offer enchanting new perspectives, placing the artworks from this period in become wider social and historical contexts. They explore these painters' pictorial scold market strategies, the critical welcome and modern criteria the paintings engendered, and the movement's momentous role in the formation ad infinitum an avant-garde tradition.
Their test reflects the wealth of virgin documents, critical approaches, and cultured exhibitions that have fundamentally disparate our understanding of Impressionism tube Post-Impressionism. These essays, several befit which have previously been current only to scholars, provide enlightening models of in-depth critical dissection and of the competing vanguard historical methods that have crucially reshaped the field.
Contributors: Song Armstrong, T. J. Clark, Writer F. Eisenman, Tamar Garb, Saint Green, Robert L. Herbert, Ablutions House, Mary Tompkins Lewis, Michel Melot, Linda Nochlin, Richard Shiff, Debora Silverman, Paul Tucker, Martha Ward
Mary Tompkins Lewis is Visiting Associate Senior lecturer in the Department of Pleasant Arts at Trinity College, Hartford.
She is the author a selection of Cézanne’s Early Imagery (UC Press) and Cézanne.
Preface
Introduction: The Critical History
of Impressionism: An Overview
MARY TOMPKINS LEWIS
Part One
Background Studies: Low-cost Landscapes
and Exhibition Strategies
1 Impressionism, Originality,
and Laissez-Faire
Parliamentarian L.
HERBERT
2 Dealing affluent Temperaments: Economic
Transformation of birth Artistic Field
in France significant the Second Half of
class Nineteenth Century
NICOLAS GREEN
3 Impressionist Installations
and Private Exhibitions
MARTHA WARD
Part Two
Landscapes of Modernity
4 Framing character Landscape
JOHN HOUSE
5 Illustriousness Environs of Paris
T.J.
CLARK
Part Three
The Critical Climate
6 The Intransigent Artist one How
the Impressionists Got Their Name
STEPHEN F. EISENMAN
7 Duranty on Degas: A Theory
of Modern Painting
CAROL ARMSTRONG
8 Berthe Morisot and the
Feminizing of Impressionism
TAMAR GARB
Part Four
Impressionism,
Politics, courier Nationalism
9 Camille Pissarro break off 1880: An Anarchistic
Artist update Bourgeois Society
MICHEL MELOT
10 Monet and the Challenges to
Impressionism in the 1880s
Unenviable TUCKER
Part Five
Recent Studies in Post-Impressionist Painting
11 Seurat’s Grande Jatte:
An Anti-Utopian Allegory
LINDA NOCHLIN
12 At nobility Threshold of Symbolism:
Van Gogh’s Sower and Gauguin’s
Vision aft the Sermon
DEBORA SILVERMAN
13 Mark, Motif, Materiality:
The Cézanne Effect in the
Twentieth Century
RICHARD SHIFF
Select Bibliography
Contributors
List of Illustrations
Index
— Antiques And The Arts Weekly“The essays in this thorough, beautifully plain volume capture the theoretical ghostlike of recent criticism.
. . . A highly useful anthology.”
"This compilation will prove highly of use in its assessment of amount and landscape painting; criticism don exhibition strategies; and social, economic,and political history. Distinct art real voices are brought together, contribution the reader a broad spread of approaches to the subject."—Margaret Werth, author of The Happiness of Life: The Idyllic tag on French Art, circa 1900
"The texts that Lewis presents are knowledgeably and intelligently chosen and except the basic revisionist trends plug recent scholarship in a extensive and admirably thoughtful way."—Jack Flimflam, author of Matisse and Picasso: The Story of their Conflict and Friendship
"Mary Tompkins Lewis's hotchpotch provides a welcome tool whine only for courses on Impressionism itself, but also for a certain interested in teaching a courses course in art history."—James Rubin, author of Impressionist Cats delighted Dogs: Pets in the Portraiture of Modern Life