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"During his lifetime, the French artist Jean-Franðcois Millet (1814-1875) was frequently criticized for his peasant paintings. Traditionalists objected to his raw, radical technique and the sharp social critique they perceived in his work. Shortly after his death, however, Millet was embraced as a national hero who had captured the French countryside in all its glory. The artist's fame extended from Europe to America and Russia, and his modern style and sympathetic depiction of peasant life remained a source of inspiration until well into the twentieth century. This publication sets Millet's work in the context of the figures he inspired: artists including Vincent van Gogh, Claude Monet, Giovanni Segantini, Winslow Homer, Paula Modersohn-Becker, Kazimir Malevich, Edvard Munch, and Salvador Dalâi"--
Reproduction of the original: Jean Francois Millet by Estelle M. Hurll
An insightful overview of how Millet influenced and inspired many modernist artists that followed him Jean-Francois Millet (1814-1875) was one of the most important artists of the Barbizon School. Through his publicly exhibited works and their critical reception, Millet was of crucial significance to modernist painters. Millet's modernity is evident in his varied subjects-from peasant themes to landscapes to nudes-and his anti-academic, rough paint application. He also produced highly inventive pastels and drawings. Jean-Francois Millet examines the international range of artists whom he influenced. For instance, Millet was an artistic hero for Vincent van Gogh, whose treatment of numerous motifs-including The Sower and Starry Night-was directly inspired by the older artist. Van Gogh even painted a remarkable series of 21 "copies" after Millet's work while living in the south of France in the final year of his life. Other artists on whom Millet had a profound impact include Camille Pissarro, Georges Seurat, Claude Monet, Edgar Degas, and Winslow Homer, and, in the 20th century, most notably Edvard Munch and Salvador Dali. 00Exhibition: Van Gogh Museum, Amsterdam, The Netherlands (04.10.2019-12.01.2020) / Saint Louis Art Museum, St. Louis, USA (16.02.-17.05.2020).
Art history made accessible and enjoyable for kids Learn all about Impressionism in this art history book for kids. Meet famous artists like Paul Cezanne, Auguste Renoir, Mary Cassatt and Claude Monet and find out why they painted the way they did. The Impressionist period of art began in the 1860s and featured art that gave an impression of a set moment in time. Kids will learn to spot details and themes in Impressionist art and will develop an appreciation for the style through this simple and child appropriate book. Here's a sample page from the book: An impression is the feeling something gives you the moment you look at it. Impressionism is the genre that takes that feeling, and makes it into a picture you can look at forever. Impressionist paintings usually are not perfect depictions of people and places. This is because the goal of an Impressionist is to show real life how the artist saw it.
A pathbreaking history of art that uses digital research and economic tools to reveal enduring inequities in the formation of the art historical canon Painting by Numbers presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London’s Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Upending traditional perspectives on the art historical canon, Painting by Numbers offers an innovative look at the nineteenth-century art world and its legacy.