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Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris examines a history of contact between modern Europe and East Asia through three collectors: Henri Cernuschi, Emile Guimet, and Edmond de Goncourt. Drawing on a wealth of material including European travelogues of the East and Asian reports of the West, Ting Chang explores the politics of mobility and cross-cultural encounter in the nineteenth century. This book takes a new approach to museum studies and institutional critique by highlighting what is missing from the existing scholarship -- the foreign labors, social relations, and somatic experiences of travel that are constitutive of museums yet left out of their histories. The author explores how global trade and monetary theory shaped Cernuschi's collection of archaic Chinese bronze. Exchange systems, both material and immaterial, determined Guimet's museum of religious objects and Goncourt's private collection of Asian art. Bronze, porcelain, and prints articulated the shifting relations and frameworks of understanding between France, Japan, and China in a time of profound transformation. Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris thus looks at what Asian art was imagined to do for Europe. This book will be of interest to scholars and students interested in art history, travel imagery, museum studies, cross-cultural encounters, and modern transnational histories.
The Walter and Leonore Annenberg Collection of Impressionist and Post-Impressionist paintings, watercolors, and drawings constitutes one of the most remarkable groupings of avant-garde works of art from the mid-19th to the early 20th century ever given to The Metropolitan Museum of Art. A revised and expanded edition of the 1989 publication Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection, this volume presents more than fifty masterworks by such luminaries as Manet, Degas, Morisot, Renoir, Monet, Cezanne, Gauguin, Van Gogh, Picasso, and Matisse, accompanied by elucidating texts and a wealth of comparative illustrations. -- From publisher.
This catalogue and its companion volume of essays are published in conjunction with the exhibition "The Private Collection of Edgar Degas," held at The Metropolitan Museum of Art, New York, from October 1, 1997, to January 11, 1998.