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A Companion to Impressionism Presenting an expansive view of the study of Impressionism, this pioneering volume breaks new thematic ground while also reconsidering questions concerning the defini­tion, chronology, and membership of the impressionist movement. In 34 original essays from established and emerging scholars, this collection offers a diverse range of developing topics and new critical approaches to the interpretation of impressionist art. Focusing on the 1860s to 1890s, A Companion to Impressionism explores artists who are well-represented in impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism’s global predominance at the turn of the 20th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, as well as the movement’s exhibition and reception history. This innovative volume also includes new discussions of modern identity in Impressionism in the contexts of race, nationality, gender, and sexuality and through its explorations of the international reach and influence of Impressionism. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important addition to scholarship in this field stands as the 21st century’s first major and large-scale academic reassessment of Impressionism. Featuring essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and Argentina, this is an invaluable text for students and scholars studying Impressionism and late 19th-century European art, Post-Impressionism, modern art, and modern French cultural history.
Includes its Report, 1896-19 .
The term ‘versified prints’ is used to describe images that are accompanied by poetic explanatory text. They were immensely popular and diffused throughout Europe in the eighteenth century, and many were shown at the Salon du Louvre. Although not all print verses are signed, their authors include occasional poets and members of the Académie Française. These prints remain among the most accessible documents for the study of art and society, but have never been examined before for their historical and cultural context. With 112 full-page reproductions, Versified Prints offers an engaging and informative introduction to these intriguing works. W. McAllister Johnson's guide discusses print production, the nature of sources, and the relationship and transformations in both text and images. Proposing a typology and methodology for this artistic phenomenon, Versified Prints enhances our knowledge of this fascinating new area of research and lays the groundwork for future studies. Disclaimer: Images removed at the request of the rights holder.