DOCSLIB.ORG

UC Berkeley Electronic Theses and Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UC Berkeley Electronic Theses and Dissertations UC Berkeley UC Berkeley Electronic Theses and Dissertations Title From Time to Totality: The Aesthetic Temporality of Objecthood Permalink https://escholarship.org/uc/item/9m50t6dr Author Clancy, Brian Thomas Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California From Time to Totality: The Aesthetic Temporality of Objecthood By Brian Thomas Clancy A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Ann Banfield, Chair Professor Dorothy Hale Professor Miryam Sas Professor Anne-Lise François Fall 2017 From Time to Totality: The Aesthetic Temporality of Objecthood © 2017 by Brian Thomas Clancy Abstract From Time to Totality: The Aesthetic Temporality of Objecthood by Brian Thomas Clancy Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Ann Banfield, Chair This dissertation constructs a philosophy of perception that creates what I call a “perceptive ontology of objects.” This ontology emphasizes, not the subjective perspectivalism of human identity, but the dynamic emergence of objects into objecthood through impersonal modalities of space, time, light, and sound. Objecthood is an attempt to render perceptive experience as something neither wholly subjective nor wholly objective. Here objects are connected with subjectivity and yet still external. I argue that modernist authors present changeable, novelistic surfaces, which submit the novel’s material objects to epistemological doubt. This creates radically interruptive moments of heightened perception, rupturing immediate experience from the more conventionally mimetic, referential, and social surfaces of the novel found within literary realism. These perceptive experiences create representational effects which I call “the mimesis of sensation.” This creates a sensory surface in the story world through which the reader aligns with the perceptive experiences of characters. This form of readerly connection is distinct from either Aristotelian empathy on the one hand, or Brechtian estrangement, on the other. In what I call, following Woolf, “the moment,” a temporality distinct from the present, the modernist works of authors like Mallarmé, Woolf, Joyce, and Kafka foreground perception itself, altering visions of time to construct discrete and static temporalities. These discontinuous moments create forms of abstract continuity. They thus create a dialectical relationship with narrative. These event-like ruptures, occurring through encounters with the surface of objects, offer two distinct notions of time that could serve as alternatives to the post-structuralist critique of the materiality of the signifier as seen in theorists like Derrida and Barthes. First, the surface of the text becomes an expansive medium of perception: a collection of perpetual gestures, interruptions, reflections, and possibilities which arises, not through linguistic play, but through a composite surface of language and perception. Secondly, a totality emerges through perceptive processes in relation to this medium, not through the infinite deferral of the signified, but through the ongoing logical recession of the object through epistemological immanence. Here I also take an important departure from the work of other theorists of modernity—Baudelaire, Bergson, Benjamin, and Deleuze, and others—who suggest an imagistic immediacy to the experience of non-chronological time. My notion of the modernist literary object is distinctively not a ready-to-point-to image. I critique the centrality of images in 20th-century theories of temporality, arguing that modernism constructs moments of readerly critical alignment not through the satisfaction of visual desire, but 1 by foregrounding processes of apprehension, perception, and inquiry: attempting to decipher an object which is never quite fully known. Even as the modernist techniques I study draw attention to the artifice of representation and the difficulties of constructing knowledge, they also frame objects of perception, constructing scenes of aesthetic totality—available to the spectator so long as she acknowledges the mediated lens through which she looks. I see totality as the possibility that perception could be made whole, the possibility that there is a form of subjectless experience in which perceptive inquiry creates order (as forms of abstract continuity). These totalities, perceivable not in chronologies of external perceptible phenomena, but within impersonal faculties of apprehension, as they coincide with these forms of deeper time, also invoke pathos (through the acknowledgment of dimensions of fate). In four chapters, each devoted to a respective modernist author, the project shows how the works of Mallarmé, Woolf, Joyce, and Kafka reveal relationships between what I call modernism’s “moments” and the receding totality of the object. Chapter 1 of the dissertation argues that a relationship exists between Mallarmé’s reception of Impressionism and the poet’s linguistic theory. Here I examine Mallarmé’s writings on the Impressionist plein air technique in his essay, “The Impressionists and Édouard Manet” (1876). Plein air means more for Mallarmé than just painting outdoors. Air, in Mallarmé’s eyes, is a full presence. Atmosphere is the key to a deep and abstract form of naturalism in his work. Other subjects in this chapter include atmospheric modalities like breath or respiration, speech and the sounds of words, or aspects of nature like weather. In Chapter 2, the novelistic objects of perceptive ontology in Woolfian impressionism create a temporal rupture from realism’s more conventional referential representation. I argue that Woolf creates another type of realism through her experiments with time. Importantly, I break from the work of 20th-century continental theorists of radical time influenced by Bergson (like Deleuze) in which the image plays a central, functional role. Woolf’s moments challenge the idea of a Bergsonian image-form not subject to doubt in order to open the imaginative field of literature to what I call “the mimesis of sensation.” This sensible time is not a form of eternity, it is a form of “living in time” (Elizabeth Abel’s phrase). A sense of reality lies in the atmospheric diffusion of Woolf’s unfinished marks of time (my phrase) such as the floating “airs” Woolf mentions in To The Lighthouse. Chapter 3 begins with a look at Joyce's notions of the “ineluctable modality of the visible” and the “ineluctable modality of the audible” from Chapter 3 (Proteus) of Ulysses. I define the ineluctable as that which overwhelms the cognitive work of Joyce’s characters. I argue that in Joyce’s work, visual modalities, for the most part, do not correspond to the ineluctable. I argue, sound does. I demonstrate that Joycean sound displays a certain tragic character which is moreover, non-anthropocentric. Sound thus seems to exceed the human point of view. Joycean sound thus surpasses narratological elements which take affect and the human lifespan as points of departure. I argue that the uncanny laughter in Joyce’s Sirens dismantles omniscience and anthropomorphic tragic surveillance (the assumption that the story world can be viewed by the all-seeing gaze of divine figuration). The fourth and final chapter of the dissertation argues that in Kafka’s The Trial epistemological operations bring about the gradual dawning of objects. Here I characterize an object as “dawning” because its state of emergence seems posited for a reader. In a challenge to critics like Adorno, Lukács, and more recently J. Hillis Miller, who see Kafka’s work as impenetrable to the spectator’s view of phenomena, I argue that in The Trial, Kafka’s representational effects reside in the protagonist’s sensory apprehension. The reader then aligns with this mimesis of the character’s perceptual experience. 2 Contents Acknowledgments ii List of Figures iii Introduction 1 Chapter One: Mallarmé’s Literary Aesthetics of Atmosphere 17 Chapter Two: The Mimesis of Sensation: Sensing a Time Beyond Eternity in Woolf’s Moments 37 Chapter Three: Beyond Anthropocentric Time: Joyce’s Tragic Philosophy of Sound 61 Chapter Four: Kafka’s Moment: Spectatorship, Perception, and the Dawning of the Object 84 Notes 102 Bibliography 143 i Acknowledgments I would like to thank my committee for their broad support. My chair, Ann Banfield, provided the inspiration for my inquiry into literary impressionism. My dissertation has benefited not just from her advice, but also from her work on literary modernism (especially her essays on Woolf’s theory of time). My understanding of representation and time in literary modernism is more expansive as a result of working with her. She also provided tremendous feedback on the final drafts. Dorothy Hale posed thought-provoking questions which have broadened the dissertation’s theoretical scope in a meaningful way. I was struck not only by her attention to the theoretical intricacies of the project but also her remarkable skill in helping me to define these intricacies in clearer terms. She read my drafts profoundly and for this I am grateful. Miryam Sas has provided incredible encouragement and insightful readership during crucial phases of the dissertation’s execution. I am grateful for the contributions that she has made at every stage. I would not
Load more

Recommended publications
  • Monet and American Impressionism
    Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies.
    [Show full text]
  • Camille on Her Deathbed
    ART AND IMAGES IN PSYCHIATRY SECTION EDITOR: JAMES C. HARRIS, MD Camille on Her Deathbed AMILLE-LEONIE DONCIEUX Monet (1847- Many years after Camille’s passing, Monet spoke with 1879) died at 32 years of age after a pro- his friend Georges Clemenceau, the former French prime tracted illness, most likely metastatic cer- minister, about her death: vical cancer.1 She had been the inspiration and model for her husband, Claude Mo- I found myself staring at the tragic countenance, automatically trying to identify the sequence, the proportion of light and shade Cnet (1840-1926). In 1866, despite his youth, Monet’s in the colors that death had imposed on the immobile face. painting of Camille (Woman in Green Dress) was ac- Shades of blue, yellow, gray...Even before the thought oc- cepted and acclaimed at the annual Paris Salon, the con- curred to memorize the face that meant so much to me, my first servative arbiter of subject matter and style in painting.2 involuntary reflex was to tremble at the shock of the colors. In In the ensuing 12 years, Camille, either alone or with her spite of myself, my reflexes drew me into the unconscious op- son, was the primary model for his paintings. eration that is the daily order of my life. Pity me, my friend.4 Their relationship began when she was just 19 years of age and he was 25. She was said to be attractive and in- These comments were made 40 years after Camille’s telligent with beautiful eyes. During their life together she death.
    [Show full text]
  • 1 Figures of Ubicomp: Conceptualizing And
    FIGURES OF UBICOMP: CONCEPTUALIZING AND COMPOSING ACTIONABLE MEDIA By JOHN TINNELL A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 John Tinnell 2 To Hutton 3 ACKNOWLEDGMENTS I would like thank all of the amazing people in the English Department at the University of Florida, especially Greg Ulmer and Sid Dobrin. Greg’s work models everything I hope to achieve in my own. While I try to not follow his footsteps too obviously, I will always be seeking to further the insights and projects that his books so originally present. For me, Greg is among the masters that his motto gestures toward. Sid, perhaps more than anyone else, helped me come of age as a professional. Because of his constant encouragement and pinpoint advice, I felt as though I had made the transition from graduate student to Assistant Professor before I even started my dissertation. It would have been inconceivable for me to complete this project in under a year without that level of confidence and support. The other two members of my committee, Laurie Gries and Jack Stenner, provided me with vital feedback. Laurie’s capacity to respond to her students’ writing is unparalleled; she saw incongruencies in my writing to which I would otherwise still be blind. Jack voiced criticisms that I did not want to hear, which are the most important to hear. I thank my parents, emphatically, for their support and for doing what they are passionate about and always encouraging me to do the same.
    [Show full text]
  • Crystal Thomas Art History Paper Impressionism Through the Eyes Of
    Crystal Thomas Art History Paper Impressionism through the eyes of Edouard Manet and Claude Monet Impressionism is a movement that had a major impact in France during the late nineteenth and early twentieth centuries. There is no exact date for the beginning of this movement. Louis Leroy, an art critic, gave this period its name when he went to an independent exhibition and came across Claude Monet's Sunrise. He said it looked impressionistic, meaning not finished. Impressionists liked to be called Independents. During this time, being called an Impressionist was not a good thing. Impressionistic works were not accepted in the world of art at this time, and art critics were referring to these painters as being lazy. Most of the public did not support Impressionism. People wondered why the artists were not finishing their brush strokes and they did not like the colors being used. Among some of the Impressionist painters are Claude Monet, Edouard Manet, Edgar Degas, Pierre Auguste Renoir, Paul Cezanne, and Camille Pisarro. Characteristics of this movement include noticeable brush strokes that are not blended together, applying the paint in a thick, impasto style, and mixing the colors right on the canvas. Some Impressionists like to take an optical approach to painting and place the hues right next to each other on the canvas. This allows the eyes to do the mixing. Optical color mixing makes paintings look lighter than if the colors were mixed, and gives the paintings the effect of being in motion. Impressionists were interested in painting the everyday world around them.
    [Show full text]
  • A+Guide+In+General+Culture+For+The
    Before starting… a few short definitions What is an artistic movement? Each artistic movement corresponds to a precise historic period. Literature or fine arts more particularly belong to the history in which artists find their inspiration and who themselves influence history. A movement can propose: A new vision of art A new aesthetics A vision of society which is questioned through art An artistic movement is not restricted to a region or a country but it can spread from a continent to the whole world. The borders between movements are often blurred: they follow or oppose each other, sometimes they overlap. An artistic movement can be initiated by one or several artists who can produce a manifesto about it or by a critic, a journalist or a historian who writes a definition which sets it apart from other contemporary works. School or movement? A school is a voluntary gathering of artists and authors who share the same ideas and the same aesthetic project. A movement is an ideological community with a wider geographical range which is established a posteriori, usually by an art critic. What is art? It is difficult to define art. Here are some guidelines for reflection. How does a work become “a work of art?” Are there special criteria? A work reaches the status of “work of art” through a consensus and recognition by the institutions. “The authentic work of art is the one which is recognized as such and for which its creator deserves to be recognized as an artist. Thus, they are both recognized by public opinion which is itself orientated by experts’ judgment, a legitimate instance of legitimation” Pierre Bourdieu wrote.
    [Show full text]
  • FRENCH IMPRESSIONISM and JEWISH PATRONAGE Veronica
    LONGING AND BELONGING: FRENCH IMPRESSIONISM AND JEWISH PATRONAGE Veronica Grodzinski Financial Times journalist Rebecca Rose quoted Melanie Clore on the sale of Impressionists at Sotheby’s in London on June 2006: The Impressionist and modern art fi eld is still a growth area and new money is being funneled directly into it. Artists like van Gogh, Monet, Cézanne, Matisse, Degas, Modigliani and Chagall are considered the ‘blue-chip brigade’, which command the highest prices and biggest international interest. Equally, the blue chip brigade is owned, sold and bought by only a handful of the world’s wealthiest buyers and collectors that form an exclusive club of some 20 patrons worldwide.1 Melanie Clore is the [ Jewish, by co-incidence] Deputy Chairman of Sotheby’s Europe Division and the Chairman of the Impressionist and Modern art market worldwide and thus one of the most knowledge- able voices on the subject. Clore’s assessment of twenty Impressionist clients worldwide is most surprising when compared to the number of early Jewish patrons in Republican France and Imperial Germany. What is remarkable is that a small circle of Jewish patrons were vision- aries as far back as a century ago and that the Impressionists circle has not widened since its early patronage around 1900. Why did a ‘small exclusive club’—to use Clore’s terminology—of some twenty-two German Jews collect French avant-garde Art at a time when most European collectors shunned it? Why did a circle of German Jewish patrons “collect against the grain” at a time when the majority of German Jews wanted to assimilate and integrate into majority society? However, their enthusiasm for French Impression- ism resulted in the astonishing fact that of all French modernist art collectors in Wilhelmine Germany, 85% were Germans Jews.
    [Show full text]
  • Impressionism Post-Impressionism and Fauvism
    • This lecture provides a quick introduction to Impressionism, the Post- Impressionists, particularly Paul Cézanne, Divisionism/Pointillism, the Fauves and Matisse • The lecture ends with the exhibition held by Roger Fry in 1910 called Manet and the Post-Impressionists. This is regarded as a turning point and the time when developments that had taken place in France over the previous 20 years were seen in England. Although made fun of by the critics it changed the way many artists worked. Notes • The following are not covered as they were covered in the course last year. • Introduce the influence on England Whistler, English Impressionists • New English Art Club • Camille Pissarro (1830-1903) is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He ‘acted as a father figure not only to the Impressionists’ but to all four of the major Post-Impressionists, including Georges Seurat (1859-1891), Paul Cézanne (1839-1906), Vincent van Gogh (1853-1890, died aged 37)) and Paul Gauguin (1848-1903). • Roger Fry 1 • Created the name Post-Impressionist, started the Omega Workshop (Fitzroy Square), curator Metropolitan Museum, ‘discovered’ Paul Cezanne, Slade Professor • Wrote An Essay in Aesthetics • Organised the 1910 ‘Manet and the Post-Impressionists’ Exhibition, Grafton Galleries. ‘On or about December 1910 human character changed’ Vanessa Bell. • Organised the 1912 ‘Second Post-Impressionist Exhibition’. References • The main sources of information are the Tate website, Wikipedia, The Art Story and the Oxford Dictionary of National Biography. Verbatim quotations are enclosed in quotation marks. If it is not one of the references just mentioned then it is listed at the bottom of the relevant page.
    [Show full text]
  • L'impressionnisme
    L’impressionnisme d’après PONT-AVEN Jacqueline Duroc Sous la direction d’Estelle Guille des Buttes Préface par Ellen Wardwell Lee 4 Préface Ellen Wardwell Lee Conservatrice émérite au Musée d’Art d’Indianapolis Marraine du Musée de Pont-Aven 1886 fut une année charnière pour la colonie artistique de Pont-Aven – et pour le mouvement connu sous le nom d’impressionnisme. À Paris, avait lieu la der- nière des huit expositions qui marquèrent les débuts du mouvement, révélant le développement de nouvelles approches picturales. En Bretagne, le Salon de Nantes présentait au public des impressionnistes déclarés et de jeunes artistes émergents. Claude Monet, Pierre Renoir et Paul Gauguin se rendaient tous en Bretagne. Tandis que Monet laissait la force nue des vagues l’attirer à Belle-Île, Renoir préférait la côte nord et Saint-Briac. Le charismatique Paul Gauguin, lui, porta son choix sur le village de Pont-Aven, hospitalier et bon marché. Gauguin venait de montrer dix-neuf tableaux impressionnistes à Paris mais, déçu par l’attention des critiques, il débarquait à Pont-Aven en quête de gloire, pressé de laisser libre cours à sa puissance créatrice. La présente exposi- tion explore la façon dont l’impact de Paul Gauguin, les attraits naturels de la Bretagne et l’appel fondamental de l’esthétique impressionniste, contribuèrent à L’impressionnisme d’après Pont-Aven. À l’arrivée de Gauguin, Pont-Aven hébergeait des artistes de diverses natio- nalités, de divers styles, y compris des peintres académiques traditionnels et naturalistes. Gauguin exerça son regard impressionniste sur des scènes de la vie rurale et put s’enorgueillir de son influence sur quelques-uns des plus jeunes représentants de la colonie.
    [Show full text]
  • Download File
    Creating a Scene to Make an Impression How Gustave Caillebotte and His Street Scenes of Haussmannian Modernity Support Impressionism Without Subscription An honors thesis submitted in partial fulfillment of the requirements for the Bachelor of Arts in Art History at the University of Notre Dame Isabel Josephine Cabezas Class of 2017 Advisor ______________________ Dennis Doordan, Professor of Art History and Architecture May 8, 2017 TABLE OF CONTENTS Introduction | 1 Transformation and Conversion | 3 Beginning Impressionism...Or Growing Out of Realism | 6 Flâneurs Admiring Paris, or New Architecture Featuring Flâneurs? | 11 Le Pont de l’Europe and Sur le Pont de l’Europe | 12 ​ ​ ​ Paris Street, Rainy Day | 17 ​ Of or For Impressionism? | 20 Techniques and Style | 21 Financial Support | 26 Conclusion | 29 Figures | 33 Bibliography | 41 With thanks to the University of Notre Dame and its Department of Art, Art History, and Design, especially Professor Dennis Doordan, Professor Nicole Woods, and the Hesburgh Libraries; Holton-Arms School; National Gallery of Art; and my friends and family, especially my mother. Cabezas 1 Creating a Scene to Make an Impression How Gustave Caillebotte and His Street Scenes of Haussmannian Modernity Support Impressionism Without Subscription Introduction 19th-century Paris witnessed a redesign of its urban fabric and a revolution in styles of painting. Under Napoleon III’s Second Empire (1852-70), Baron Georges Haussmann transformed medieval Paris into a modern metropolis in an attempt to improve municipal sanitation and transportation, enhance urban beauty, and to facilitate governmental control over the city. The impact of this extensive redesign of Paris’ urban fabric extended to quotidian activities, as well as to the fine arts.
    [Show full text]
  • The Influence of Japonisme in Claude Monet's Impression
    THE INFLUENCE OF JAPONISME IN CLAUDE MONET’S IMPRESSION, SUNRISE A thesis submitted to the College of Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Chelsea N. Cooper May 2020 Thesis written by Chelsea Cooper B.A., Kent State University, 2016 M.A., Kent State University, 2020 Approved by _________________________________________ Shana Klein, Ph.D., Advisor _________________________________________ Marie Bukowski, M.F.A., Director, School of Art _________________________________________ John R Crawford-Spinelli, Ed.D., Dean, College of Arts ii TABLE OF CONTENTS Page LIST OF FIGURES………………………………………………………….........…….…….iv ACKNOWLEDGMENTS……………………………………………………….........………vi CHAPTER I. THE PIONEERING CLAUDE MONET 1 Introduction………………………………………………………………..........……..1 Monet’s Life and Career Leading to Impression, Sunrise.............................................2 Before the Birth of Impression, Sunrise…………………………………....…............5 II. ENDING SECLUSION- JAPANESE IMPORTING 10 History of the Trade………………………………………………………........…….10 Japonisme: A Cultural Exploitation……………..…………………………........…...12 The Great Masters: Hiroshige, Hokusai, and Utamaro……………………........…....14 Monet’s Obsession with Japonisme…………………………………………........….17 The Prevalent Influence of Ukiyo-e on Nineteenth Century Artists…………............21 III. IMPRESSION, SUNRISE: A PAINTING FIT FOR WOODBLOCK 27 The Beginnings of Impressionism...............................................................................27 A
    [Show full text]
  • Art History Notes: Impressionism (1860 – 1900) Impressionism (1860 – 1900)
    Art History Notes: Impressionism (1860 – 1900) Impressionism (1860 – 1900) Impressionism –Impressionists used Scientific divisionism (1860 – 1900) and tried to paint reflected light as it truly is. –They were primarily concerned with the modern in subject matter. –Although there were many impressionists, the group included: Edouard Manet, Berthe Morisot, Edgar Degas, Pierre-August Renoir, Camille Pissarro, Mary Cassatt, and Claude Monet. Claude Monet • Claude Monet (1840 –1926 ) (1840 –1926 ) – From Impression Sunrise’s title, art critic Louis Leroy coined the term "impressionism". – In the 1880s Monet began "series" painting — paintings of one subject in varying light and viewpoints. His first series is of Rouen Cathedral from different points of view and at different times of the day. – Monet was exceptionally fond of painting controlled nature — his own garden, his water lilies, his pond, and his bridge. Monet Impression Sunrise 1874 Monet La Promenade 1875 • Pissarro, (1836 – 1903) Camille Pissarro – His work used the spontaneity (1836 – 1903) common in impressionist work. – Borrowed the pointillism of Seurat in the form of “scientific” divisionism. – Pissarro was the oldest of the group of artists. Pissarro (1836 – 1903) Pissarro (1836 – 1903) • Berthe Morisot (1841 –1895) Berthe Morisot – Morisot, along with Camille 1841 –1895 Pissarro, was one of only two artists whose work exhibited in all of the original impressionist shows. – Like true impressionists, Morisot painted what she saw in her immediate, everyday life: women, children, and domestic scenes. Berthe Morisot 1841 –1895 Berthe Morisot 1841 –1895 • Cezanne, Paul (1839 – 1906) Paul Cezanne – While studying under Pissarro, (1839 – 1906) Cezanne painted in the Impressionist style from 1862 – 1865.
    [Show full text]
  • Focus Pontoise, Berceau De L'impressionnisme
    FOCUS PONTOISE, BERCEAU DE L’IMPRESSIONNISME CIRCUIT DÉCOUVERTE 1860 1862 Arrivée du train à Pontoise SOMMAIRE 1863 1866 à 1869 1872 1873 3 Pontoise, Berceau Pissarro Pissarro s’installe Pissarro séjourne rue rue Malebranche s’installe au de l’Impressionnisme du fond de (rue de l’Hermitage) 26 rue de L’impressionisme l’Hermitage et accueille l’Hermitage (rue Maria- Cézanne, Béliard Berthe Morisot Deraismes) et Guillaumin pour 5 Pontoise et les peintres séjourne dans peindre en plein air Camille Pissarro le quartier Les lieux où a vécu du Chou à Pontoise Pissarro à Pontoise 8 La gravure impressionniste, Cézanne Cézanne installé à à Pontoise et dans sa région rend visite Auvers-sur-Oise rejoint à Pissarro Pissarro à Pontoise 10 Plan à Pontoise pour peindre 12 Les amis de Pissarro Paul Cézanne Paul Gauguin Monet tenté par Pontoise Ludovic Piette Edouard Béliard Armand Guillaumin William Thorney 16 Les sites Pontoisiens qui ont inspiré les Impressionnistes 19 Lexique Couverture : Camille Pissarro “Vue de l’Hermitage, côte des Grattes- Coqs”, 1967 Collection privée Ci-contre : Claude Monet “Impression, soleil levant” 1873 © Musée Marmottan, Paris. 1885 1874 Première exposition impressionniste à Paris 1873 à 1877 1874 à 1881 1875 à 1882 1879 1881 1882 1883 1884 Pissarro s’installe Pissarro s’installe au Pissarro Pissarro quitte au 18-18bis 85 quai du Pothuis séjourne à Osny Osny pour rue de l’Hermitage (21 quai Eugène Eragny-sur-Epte (36 rue de Turpin à Pontoise) Piette séjourne l’Hermitage) régulièrement chez les Pissarro Premier séjour Gauguin Dernier séjour de Gauguin retourne chez de Gauguin chez les les Pissarro chez les Pissarro.
    [Show full text]