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One of the nation’s top art critics shows how six great artists made old age a time of triumph by producing some of the greatest work of their long careers—and, in some cases, changing the course of art history. Ordinarily, we think of young artists as the bomb throwers. Monet and Renoir were still in their twenties when they embarked on what would soon be called Impressionism, as were Picasso and Braque when they ventured into Cubism. But your sixties and the decades that follow can be no less liberating if they too bring the confidence to attempt new things. Young artists may experiment because they have nothing to lose; older ones because they have nothing to fear. With their legacies secure, they’re free to reinvent themselves…sometimes with revolutionary results. Titian’s late style offered a way for pigment itself—not just the things it depicted—to express feelings on the canvas, foreshadowing Rubens, Frans Hals, 19th-century Impressionists, and 20th-century Expressionists. Goya’s late work enlarged the psychological territory that artists could enter. Monet’s late waterlily paintings were eventually recognized as prophetic for the centerless, diaphanous space developed after World War II by abstract expressionists like Jackson Pollock and Phillip Guston. In his seventies, Matisse began to produce some of the most joyful art of the 20th century, especially his famous cutouts that brought an ancient craft into the realm of High Modernism. Hopper, the ultimate realist, used old age on occasion to depart into the surreal. And Nevelson, the patron saint of late bloomers, pioneered a new kind of sculpture: wall-sized wooden assemblages made from odds and ends she scavenged from the streets of Manhattan. Though these six artists differed in many respects, they shared one thing: a determination to go on creating, driven not by the bounding energies of youth but by the ticking clock that would inspire them to produce some of their greatest masterpieces.
Includes entries for maps and atlases.
These Writings on American History starting with 1973-74 begin a new pilot project designed to utilize a system developed by the staff of the American Historical Review to produce comprehensive and current bibliography of article-length literature.
"On April 15, 1874, the exhibition organized by the "Societe Anonyme des Artistes Peintres, Sculpteurs, Graveurs et Lithographes" opened its doors in Paris. Monet, Renoir, Degas, Morisot, Cezanne, Pissarro, and Sisley were among the participants. They painted real life as they perceived it--Parisian women dressed in the latest fashions, the capital city bustling with life, and colorful rural landscapes. This new style of painting was dubbed "impressionist." This publication takes a fresh look at a now-legendary exhibition, long seen as the starting point for avant-garde movements that followed. The volume positions it in the context of its time, considering France's defeat by the Prussians and the upheaval of the Commune in 1871, the reconstruction of Paris, and the domination of the official Salon over the art world. Written by French and American experts in the field, this richly illustrated book delves into the ways in which, 150 years ago, artists asserted their independence and changed the course of history." --
Excerpt from Manet and the Post-Impressionists: Nov. 8th to Jan. 15th, 1910-11, 10 A. M. To 6 P. M The pictures collected together in the present Exhibi tion are the work of a group of artists who cannot be defined by any single term. The term Synthesists, which has been applied to them by learned criti cism, does indeed express a quality underlying their diversity; and it is the principal business of this introduction to expand the meaning of that word, which sounds too like the hiss of an angry gander to be a happy appellation. As a definition it has the drawback that this quality, common to all, is not always the one most impressive in each artist. In no school does individual temperament count for more. In fact, it is the boast of those who believe in this school, that its methods enable the individuality of the artist to find completer self-expression in his work than is possible to those who have committed themselves to representing objects more literally. This, indeed, is the first source of their quarrel with the Impressionists the post-impressionists consider the Impressionists too naturalistic. Yet their own connection with Impressionism is extremely close; Cezanne, Gauguin and Van Gogh all learnt in the Impressionist school. There are pictures on the walls by these three artists, painted in their earlier years, which at first strike the eye as being more impressionist than anything else; but, nevertheless, the connection of these artists with the Impressionists is accidental rather than intrinsic. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
A comprehensive, accessible, and richly illustrated guide to impressionism—the perennially popular artistic movement that led to the radical renewal of Western art. Monet, Renoir, Degas, Rodin, Cezanne, Van Gogh, and the other Impressionist artists burst onto the art scene in the second half of the nineteenth century, creating shock waves with their rebellious rejection of the academy’s strict rules dictating subject matter, style, and even color. Their art, labeled impressionism, coincided with the Industrial Revolution, when the world was suddenly jettisoned into modernity. The young artists who gave rise to the movement confronted public disdain and oppression in Europe, but were applauded overseas for their radically contemporary aesthetic. This complete and accessible guide renews and refreshes conventional views on impressionism by placing this seminal moment in art in its historical context. Emblematic masterpieces are examined with a focus on each detail, allowing a deeper understanding and appreciation of the artworks. Biographies of all the major artists of the movement provide insight about their life and significant works, and period photographs illustrate this incredibly rich and exciting time in art history. Organized thematically, the guide includes chapters on photography, fashion, female impressionists, exhibitions, galleries and dealers, writers, the movement’s influence on later artists, and recurrent impressionist themes including leisure activities, the garden, the city, and industry. Replete with illustrations and numerous firsthand accounts and quotations, this book recounts a story of emancipation.