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From T.J. Clark comes this provocative study of the origins of modern art in the painting of Parisian life by Edouard Manet and his followers. The Paris of the 1860s and 1870s was a brand-new city, recently adorned with boulevards, cafés, parks, Great Exhibitions, and suburban pleasure grounds—the birthplace of the habits of commerce and leisure that we ourselves know as "modern life." A new kind of culture quickly developed in this remade metropolis, sights and spectacles avidly appropriated by a new kind of "consumer": clerks and shopgirls, neither working class nor bourgeois, inventing their own social position in a system profoundly altered by their very existence. Emancipated and rootless, these men and women flocked to the bars and nightclubs of Paris, went boating on the Seine at Argenteuil, strolled the island of La Grande-Jatte—enacting a charade of community that was to be captured and scrutinized by Manet, Degas, and Seurat. It is Clark's cogently argued (and profusely illustrated) thesis that modern art emerged from these painters' attempts to represent this new city and its inhabitants. Concentrating on three of Manet's greatest works and Seurat's masterpiece, Clark traces the appearance and development of the artists' favorite themes and subjects, and the technical innovations that they employed to depict a way of life which, under its liberated, pleasure-seeking surface, was often awkward and anxious. Through their paintings, Manet and the Impressionists ask us, and force us to ask ourselves: Is the freedom offered by modernity a myth? Is modern life heroic or monotonous, glittering or tawdry, spectacular or dull? The Painting of Modern Life illuminates for us the ways, both forceful and subtle, in which Manet and his followers raised these questions and doubts, which are as valid for our time as for the age they portrayed.
The 17th century has always been considered the golden age - the grand siècle - of French culture. The reigns of Louis XIII and Louis XIV witnessed an unprecedented flowering of literature and philosophy, of music, architecture and art. The poetic history painting of Poussin, the landscapes of Claude Lorrain, the portraits of Philippe de Champaigne, and the celebratory art of Le Brun at the court of Louis XIV at Versailles were among its greatest achievements. Yet the subject-matter and formal conventions most prized at the time can make it difficult for the modern viewer to appreciate the artists’ aims and to judge success or failure. Thanks to new research, it is now possible to set the major figures within the framework of the concerns and theoretical debates of the grand siècle itself. Christopher Allen, one of the few authorities on the subject outside the French-speaking world, brilliantly enables us to see beyond mere form to the meanings the artists intended us to enjoy.
The National Gallery's collection encompasses the neoclassicism of Jacques-Louis David as well as the naturalism of the Barbizon painters. The works of Jean-August-Dominique Ingres, such as the Gallery's famous portrait of Madame Moitessier, are precursors to the classical style that dominated later in the century. Jean-Baptiste-Camille Corot's verdant landscapes, Honoré Daumier's political satires, and Jean-François Millet's realism are also included in this richly illustrated volume.
Published on the occasion of the exhibition of the same name held at the Museum of Modern Art, New York, October 27,1999 - March 14, 2000. French landscape is a part of larger exchbition, ModernStarts which is in turn part of a cycle of exchibitions entitled MoMa 2000.
The compelling story of how Vincent van Gogh developed his audacious, iconic style by immersing himself in the work of others, featuring hundreds of paintings by Van Gogh as well as the artists who inspired him—from the New York Times bestselling co-author of Van Gogh: The Life “Important . . . inspires us to look at Van Gogh and his art afresh.”—Dr. Chris Stolwijk, general director, RKD–Netherlands Institute for Art History Vincent van Gogh’s paintings look utterly unique—his vivid palette and boldly interpretive portraits are unmistakably his. Yet however revolutionary his style may have been, it was actually built on a strong foundation of paintings by other artists, both his contemporaries and those who came before him. Now, drawing on Van Gogh’s own thoughtful and often profound comments about the painters he venerated, Steven Naifeh gives a gripping account of the artist’s deep engagement with their work. We see Van Gogh’s gradual discovery of the subjects he would make famous, from wheat fields to sunflowers. We watch him experimenting with the loose brushwork and bright colors used by Édouard Manet, studying the Pointillist dots used by Georges Seurat, and emulating the powerful depictions of the peasant farmers painted by Jean-François Millet, all vividly illustrated in nearly three hundred full-color images of works by Van Gogh and a variety of other major artists, including Claude Monet, Paul Gauguin, and Henri de Toulouse-Lautrec, positioned side by side. Thanks to the vast correspondence from Van Gogh to his beloved brother, Theo, Naifeh, a Pulitzer Prize winner, is able to reconstruct Van Gogh’s artistic world from within. Observed in eloquent prose that is as compelling as it is authoritative, Van Gogh and the Artists He Loved enables us to share the artist’s journey as he created his own daring, influential, and widely beloved body of work.