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"Fried put forward a highly original, beholder-centered account of the evolution of a central tradition in French painting from Chardin to Courbet."--P. [4] of cover.
"Fried put forward a highly original, beholder-centered account of the evolution of a central tradition in French painting from Chardin to Courbet."--P. [4] of cover.
Edouard Manet's controversial painting "Le Déjeuner sur l'herbe" is one of the best known images in French art. The subject of critical analysis for more than a century, it still defies singular interpretations. These essays, written specially for this volume by the leading scholars of French modern art, therefore offer six different readings of the painting, incorporating close examinations of its radical style and novel subject, relevant historical developments and archival material, as well as biographical evidence that prompts psychological inquiries.
In 1863, civil war is raging in the United States. Victorine Meurent is posing nude, in Paris, for paintings that will be heralded as the beginning of modern art: Manet's Olympia and Picnic on the Grass. However, Victorine's persistent desire is not to be a model but to be a painter herself. In order to live authentically, she finds the strength to flout the expectations of her parents, bourgeois society, and the dominant male artists (whom she knows personally) while never losing her capacity for affection, kindness, and loyalty. Possessing both the incisive mind of a critic and the intuitive and unconventional impulses of an artist, Victorine and her survival instincts are tested in 1870, when the Prussian army lays siege to Paris and rat becomes a culinary delicacy. Drēma Drudge's powerful first novel Victorine not only gives this determined and gifted artist back to us but also recreates an era of important transition into the modern world.
Manet and the Execution of Emperor Maximillian ISBN 0-87070-423-0 / 978-0-87070-423-9 Paperback, 7.5 x 9.25 in. / 120 pgs / 35 color and 45 b&w. / U.S. $29.95 CDN $36.00 November / Nonfiction and Criticism
After Admiral Perry broke through Japan's isolation in 1854, the current of Japanese trade flowed west again, bearing with it the colored woodcuts of Hokusai, Hiroshige, and their contemporaries. Some of the most avid collectors of these prints were the French Impressionists and Nabis, who found in them new ways to treat their own prints. In The Great Wave, Colta Feller Ives, Curator in Charge, Department of Prints and Photographs, The Metropolitan Museum of Art, recounts the phenomenal "cult of Japan" in late nineteenth-century France and reveals through direct comparisons its particular impact on the graphic work of Manet, Degas, Cassatt, Bonnard, Vuillard, Toulouse-Lautrec, and Gauguin.
Here approximately two hundred works by French and Spanish artists chart the development of this cultural influence and map a fascinating shift in the paradigm of painting, from Idealism to Realism, from Italy to Spain, from Renaissance to Baroque. Above all, these images demonstrate how direct contact with Spanish painting fired the imagination of nineteenth-century French artists and brought about the triumph of Realism in the 1860s, and with it a foundation for modern art."--BOOK JACKET.
A fictional novel that focuses upon the turbulent life and times of one of the founders of the Impressionist movement: Berthe Morisot. This novel was awarded a first prize in historical fiction from the Chanticleer Reviews writing contest.
Le revers de la jaquette indique : "With the rise of museums in the 19th century, including the formation in 1824 of the National gallery in London, the art of the past became visible and accessible (in Victorian England) as never before. Inspired by the work of Sandro Botticelli, Jan van Eyck, Diego Velazquez, and others, British artists transformed contemporary art through a creative process that emphasized imitation and emulation. Elizabeth Prettejohn analyzes the ways in which the Old Masters were interpreted by artists, as well as critics, curators, and scholars, and argues that Victorian artists were, paradoxically, at their most original when they imitated the Old Masters most faithfully. Covering Victorian art from the Pre-Raphaelites through to the early modernists, she vividly traces the ways in wich artist such as Dante Gabriel Rossetti, Edward Burne-Jones, and William Orpen engaged with the art of the past to produce some of the greatest art of the late nineteenth and early twentieth centuries."