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A catalog of an exhibition
"More than any other artist in the Impressionist group, Degas was fascinated by ideas and consciously based his work on them. "What I do is the result of reflection and study of the great masters," he once confessed, "of inspiration, spontaneity, temperament I know nothing." Yet his work has been understood very inadequately from that point of view. Publications on him, once dominated by memoirs inspired by his remarkable personality, are now concerned with cataloguing and studying limited aspects of his complex art. Its intellectual power and originality, which were evident to contemporary writers like Duranty and Valery, have not been studied sufficiently by more recent critics. It is this side of Degas's art--as seen in his ingenious pictorial strategies and technical innovations, his use of motifs like the window, the mirror, and the picture within the picture, his invention of striking, psychologically compelling compositions, and his creation of a sculptural idiom at once formal and vernacular--that is the subject of these essays. Inevitably, given the range of his intellectual interests, the essays are also concerned with his contacts with leading novelists and poets of his time and his efforts to illustrate or draw inspiration from their works. Throughout, the author makes use of an important, largely unpublished source, the material in Degas's notebooks, on which he has recently published a complete catalogue"--Publisher's description.
Designed to accompany a major exhibit in London and Chicago and illustrated with 170 color plates and 120 black-and-white reproductions, a study of the artist's later career investigates the themes, techniques, and imagery of Degas's last decades. UP.
Chapters on Historicism, the Victorians and Pre-Raphaelites, the Secessionist movements (Art Nouveau, Symbolism), Impressionism, and early Modernism examine the relationship between picture and frame in the years 1850 and 1920.
And his development as a visual artist. Van Gogh considered reading to be "a matter of importance that greatly influences one's work," and though he resolutely avoided the anecdotal and illustrative in his art, his oeuvre is nonetheless marked by his literary pursuits. In this study, Sund reveals the multiple and often subtle ways in which Van Gogh used nonnarrative imagery to evoke beloved texts. Citing primary sources, she demonstrates that Van Gogh considered French.