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Artist Spotlight
ARTIST SPOTLIGHT Édouard Manet DAN SCOTT The Bridge BetweenÉdouard Realism Manet and Impressionism Édouard Manet (1832-1883) was a French painter who bridged the gap between Real- ism and Impressionism. In this ebook, I take a closer look at his life and art. Édouard Manet, Boating, 1874 2 Key Fact Here are some of the key facts and ideas about the life and art of Manet: • Unlike many of his contemporaries, he was fortunate enough to be born into a wealthy family in Paris on 23 January 1832. His father was a high-ranking judge and his mother had strong political connections, being the daughter of a diplomat and goddaughter of Charles Bernadotte, a Swedish crown prince. • His father expected him to follow in his footsteps down a career in law. However, with encouragement from his uncle, he was more interested in a career as a paint- er. His uncle would take him to the Louvre on numerous occasions to be inspired by the master paintings. • Before committing himself to the arts, he tried to join the Navy but failed his entry examination twice. Only then did his father give his reluctant acceptance for him to become an artist. • He trained under a skilled teacher and painter named Thomas Couture from 1850 to 1856. Below is one of Couture’s paintings, which is similar to the early work of Manet. I always find it interesting to see how much a teacher’s work can influence the work of their students. That is why you need to be selective with who you learn from. -
Manet and Modern Beauty
Tyler E. Ostergaard exhibition review of Manet and Modern Beauty Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Tyler E. Ostergaard, exhibition review of “Manet and Modern Beauty ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.15. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ostergaard: Manet and Modern Beauty Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Manet and Modern Beauty Art Institute of Chicago, Chicago May 26, 2019–September 8, 2019 Getty Center, Los Angeles October 8, 2019–January 12, 2020 Catalogue: Scott Allan, Emily A. Beeny, and Gloria Groom, with Bridget Alsdorf, Carol Armstrong, Helen Burnham, Leah Lehmbeck, Devi Ormond, Catherine Schmidt Patterson, and Samuel Rodary, Manet and Modern Beauty: The Artist’s Last Years. Los Angeles: J. Paul Getty Museum, 2019. 400 pp.; 206 color and 97 b&w illus., 1 table; bibliography; index. $65 (hardcover) ISBN: 978–1606066041 How are we to classify Manet’s last paintings? This question drives the new exhibition Manet and Modern Beauty, which ran at the Art Institute of Chicago from May 26, 2019 to September 8, 2019, and then at the Getty Center, Los Angeles from October 8, 2019 to January 12, 2020. Organized by curators Scott Allan, Emily A. Beeny, and Gloria Groom, Manet and Modern Beauty focuses on Manet’s production—hardly just paintings—from the mid-1870s until his death on April 30, 1883, at age fifty-one. -
City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939 2004
Repositorium für die Medienwissenschaft Alastair Phillips City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939 2004 https://doi.org/10.25969/mediarep/4113 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Phillips, Alastair: City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939. Amsterdam: Amsterdam University Press 2004 (Film Culture in Transition). DOI: https://doi.org/10.25969/mediarep/4113. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/9789053566336 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0/ Lizenz zur Verfügung Attribution - Non Commercial 3.0/ License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. -
Summer 2020 Newsletter
Baddow & Galleywood U3A NEWSLETTER Summer 2020 LOCKDOWN EDITION Mr & Mrs Blackbird enjoy breakfast at Maggie’s The Continuing Thoughts of Chairman Mo “We have all the time in the world.” ― Louis Armstrong “People will always need People” – Benjamin Zephaniah In my last Newsletter article, I was looking forward to having lots of nominations for new committee members at the AGM in April. Guess what – no volunteers. Even worse – no AGM. Since the start of lockdown, I’ve been trying to update you all on a weekly basis with local, and occasionally, national items. Many have been sent to me by members – especially those in the Patient Participation Group at Baddow Village Surgery - or gleaned from local Facebook groups that I belong to. Based on the many responses to the weekly updates that I’ve had from you, it would seem that they have helped in some small way to ease the tedium of living in this strange new world that we’re trying to adjust to. National U3A Day has now been postponed until October 1st (2020, in case you were thinking otherwise!), so you’ve plenty of time now to muster your thoughts and let us know what you or your group(s) might like to do. Just as a reminder, here’s what it’s all about - “Members can showcase what happens in their U3A, challenge negative perceptions of older adults and invite other Third Agers in the community to learn about the contribution U3A makes to the quality of life of retired people”. It may well be that yet another postponement of the day is still on the cards, or at least one observing social distancing rules. -
Prehistory to the Renaissance
1 HUMS 2102 Modern European Art c.1400-present Paterson 303, Tuesday and Thursday, 11:35-12:55 Prof. Randi Klebanoff Office: 437 St. Patrick’s Building (613) 520 2600 ext. 2352 Office Hours: Thursday 1:30-3:30 [email protected] or by appointment “Looking isn’t as easy as it looks.” Ad Reinhardt (1913-1967), artist. A survey of this breadth is naturally selective. Works and monuments will be chosen as representative of currents in art production in a particular period and place. Their inclusion will be based on their visual eloquence, their importance in a historical narrative and for the fruitfulness of the discussion and questions they elicit. Studying art and architecture requires its own set of skills and aptitudes, which you will begin to acquire in this course. The rewards are many. Art history opens ones eyes to the ways that inventive visual and material manipulations of the world negotiate and express the human condition. Art history teaches you to think about experiences of visuality: manifestations, that is to say, that exist beyond words. Course Objectives: On completing this course you should have a knowledge of major monuments of art and architecture from the Renaissance to the present. have acquired art historical skills of visual analysis and interpretation of art works within their historical contexts be able to recognize and use various methodologies in art history have established the foundation for a lifelong appreciation of the visual, material, and spatial eloquence of works of art and architecture Readings/viewings There will be no printed textbook for this class. -
The Impressionist Artists
Impressionism and Its Canon James E. Cutting 2006 University Press of America Library of Congress Control Number: 2005934187 ISBN 0-7618-3344-7 For Claudia Lazzaro, my wife, who offered encouragement, a wry smile, an open mind, and a promise of what could be Contents Image Credits vii Preface ix Chapter 1: Culture, Art, and Science 1 Chapter 2: Canons and Their Structure 9 Chapter 3: Categories and Their Measure 21 Chapter 4: The Impressionist Artists 41 Chapter 5: Museums 69 Chapter 6: Dealers and Collectors 91 Chapter 7: The Core Canon 119 Chapter 8: The Broader Canon 135 Chapter 9: Scholars and Curators 157 Chapter 10: A Second Sample 169 Chapter 11: The Public and Mere Exposure 183 Chapter 12: A Theory of Canon Formation and Maintenance 199 Appendices 219 Bibliography 269 Index 279 Author Information 299 Image Credits Cover: Jean-Louis Forain, Au café (At the café, ~1879, Dixon Gallery and Gardens, Nashville, TN). This image was exhibited at the 4th Impressionist exhibition. Forain is not usually considered an Impressionist painter, and this image definitely not in the Impressionist canon. (New image for this edition.) Figure 2.1, page 11: Edgar Degas, La mélancholie (Melancholy, 1867-70, The Phillips Collection, Washington, DC). Edgar Degas, Repasseuses (Women ironing, 1884-86, Musée d’Orsay, Paris). Figure 4.2, page 50: Armand Guillaumin, Place Valhubert, Paris (1875, Musée d’Orsay, Paris). Claude Monet, Le bassin d’Argenteuil (The Argenteuil basin, 1872, Musée d’Orsay, Paris). Figure 4.3, page 52: Jean-François Raffaëlli, La place d’Italie après la pluie (Place d’Italie after the rain, 1877, Dixon Gallery and Gardens, Nashville, TN). -
Download This Issue in PDF Format
Editors' Notes Intake - nonfiction by Mark Dostert Three Poems - by Denise Low The Artist Conversations - fiction by Mabel Yu Blowing Bubbles on Thanksgiving - poetry by Paul David Adkins Tonalá - fiction by Charles Haddox The Wrong Side of Tomorrow - poetry by Bart Edelman The Luckiest Man Alive - fiction by Jo-Anne Rosen Anodyne - short fiction by Midge Raymond Maria - poetry by Joseph Little Contributors' Notes Book Review Fifty-for-Fifty Contest for Readers Guidelines for Submissions Questions for Reader Group Discussion Previous Issues The Summerset Review Page 2 of 59 With the exception of incoming submissions here, the majority of my reading is focused on literary journals and the varied styles and voices found there. For years, I haven't really preferred the longer stuff—novels and what-not. But I took a bit of a dive into my archives this August to reread a number of full-length works I appreciated in the past, and was happy I did. Do you ever reread books or shorter length pieces you've enjoyed? Here is a sampling of where I went this summer - "Colony Girl" - by Thomas Rafiel (Picador, 1999). The story of Eve, a teenage girl in a religious colony, written in first person, yet by a male author. I found the voice very convincing, and this personality very likable and interesting. "I looked behind and saw my shadow, stretching ten miles down the road," Eve tells us. "The farther I walked, the farther it went in the other direction." "Last Things" - by Jenny Offill (Dell, 1999). Younger than Eve, Grace is eight years old, has that enviable child's imagination, and is exposed to quite a stirring of views and thoughts and systems of others. -
2011 ANNUAL REPORT ART & EDUCATION Diana Bracco BOARD of TRUSTEES COMMITTEE W
NATIONAL GALLERY OF ART 2011 ANNUAL REPORT ART & EDUCATION Diana Bracco BOARD OF TRUSTEES COMMITTEE W. Russell G. Byers Jr. (as of 30 September 2011) Victoria P. Sant Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Robert W. Duemling Frederick W. Beinecke Barney A. Ebsworth Mitchell P. Rales Gregory W. Fazakerley Sharon P. Rockefeller Doris Fisher John Wilmerding Aaron I. Fleischman Juliet C. Folger FINANCE COMMITTEE Marina K. French Mitchell P. Rales Lenore Greenberg Chairman Rose Ellen Greene Timothy F. Geithner Richard C. Hedreen Secretary of the Treasury Helen Henderson Frederick W. Beinecke John Wilmerding Victoria P. Sant Benjamin R. Jacobs Chairman President Sharon P. Rockefeller Sheila C. Johnson Victoria P. Sant Betsy K. Karel John Wilmerding Linda H. Kaufman Mark J. Kington AUDIT COMMITTEE Robert L. Kirk Frederick W. Beinecke Jo Carole Lauder Chairman Leonard A. Lauder Timothy F. Geithner Secretary of the Treasury LaSalle D. Leffall Jr. Mitchell P. Rales Robert B. Menschel Harvey S. Shipley Miller Sharon P. Rockefeller Frederick W. Beinecke Mitchell P. Rales Victoria P. Sant Diane A. Nixon John Wilmerding John G. Pappajohn Sally E. Pingree TRUSTEES EMERITI Diana C. Prince Roger W. Sant Robert F. Erburu B. Francis Saul II John C. Fontaine Thomas A. Saunders III Julian Ganz, Jr. Fern M. Schad Alexander M. Laughlin Albert H. Small David O. Maxwell Michelle Smith Ruth Carter Stevenson Benjamin F. Stapleton Sharon P. Rockefeller John G. Roberts Jr. Luther M. Stovall Chief Justice of the EXECUTIVE OFFICERS Ladislaus von Hoffmann United States Victoria P. Sant President Alice L. Walton William L. -
Picturing France 1830-1900
Picturing France 1830 –1900 Picturing France 1830 – 1900 NATIONAL GALLERY OF ART, WASHIngTON CONTENTS 1 INTRODUCTION 5 SECTION 1 Paris and the Painters of Modern Life 11 A modern city 13 A most modern old bridge 14 Department stores 18 The Louvre and Tuileries 20 Montmartre 31 SECTION 2 Encounters with Nature in the Forest of Fontainebleau 37 The Barbizon school 39 A feel for light 41 The academic tradition and Salon painting 42 Photography and painting 43 Oaks, artists, and nature preserves 45 Monet in Fontainebleau 81 Courbet on realism 51 SECTION 3 Life and Leisure along the Rivers of the Île-de-France 83 SECTION 5 Painters and Tourists in Normandy 57 “Impressionism” 87 Plein-air painting 58 Monet’s dahlias 92 Channel resorts 61 River sports 93 Monet and the paintings of Rouen cathedral 65 Peasants 98 Neo-impressionism 98 Color and light 73 SECTION 4 Rugged Landscapes in Auvergne and Franche-Comté 103 SECTION 6 Seeking the “Primitive” in Brittany 106 Celtic culture: language, music, and religion 110 Synthétisme 121 SECTION 7 Effects of the Sun in Provence 124 Occitan and Languedoc 124 Pétanque 124 The mistral 127 Cézanne and modern art 132 The influence of Japanese art RESOURCES 138 Glossary 142 Notes 143 Bibliography 145 List of Images page 4 2 PARIS 1 3 4 5 6 1 BRITTANY 2 NORMANDY 3 ÎLE-DE-FRANCE 4 FRANCHE-COMTÉ 5 AUVERGNE 6 PROVENCE INTRODUCTION Picturing France From about 1830 to the end of the nineteenth century, a period of enormous political and social change, French landscape painting was transformed. -
FEMALE PUBLIC NUDITY in BELLE ÉPOQUE PARIS by LELA LOVETT FELTER-KERLEY a DISSERTATION PRESENTED to the GRADUATE SCHOOL OF
FEMALE PUBLIC NUDITY IN BELLE ÉPOQUE PARIS By LELA LOVETT FELTER-KERLEY 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 2006 Copyright 2006 by Lela Lovett Felter-Kerley This life-long dream would not have been possible without the vision and encouragement of my parents and the numerous sacrifices of my husband John and daughter Adyla. ACKNOWLEDGMENTS Let me begin by saying that nothing could be more foreign, more out-of-character, for me than to write a dissertation on nudity. Raised in a puritanical, middle-class military household during the conservative years of the Reagan administration (lest we forget Edwin Meese?), the closest I came to naked bodies was seeing my baby sister race around the house after having her nightly baths. For years I have thought very little of those first visions and memories of my childhood until now. However the context for my thinking about nudity some twenty odd years later is radically different. Through a series of chance happenings and unforeseen events, I am now confronting my innermost feelings, frustrations, and fascinations with the naked body. It has been as much a taboo for me to think, speak, and write about as it has been for many of closest friends and family members to hear. The University of Florida, its College of Liberal Arts and Sciences, and its Department of History granted me the academic freedom and financial wherewithal to explore this subject. The Council for European Studies’ generous pre-dissertation fellowship afforded me the opportunity to conduct preliminary research abroad. -
Paul Durand-Ruel and the Market for Early Modernism Marci Regan Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2004 Paul Durand-Ruel and the market for early modernism Marci Regan Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Regan, Marci, "Paul Durand-Ruel and the market for early modernism" (2004). LSU Master's Theses. 123. https://digitalcommons.lsu.edu/gradschool_theses/123 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PAUL DURAND-RUEL AND THE MARKET FOR EARLY MODERNISM A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Marci Regan B.A., Louisiana State University, 1997 May 2004 TABLE OF CONTENTS Abstract………………………………………………….……………………..………..…iii Chapter 1: The Historical and Social Background…………………...……….………...…..1 A. Introduction……………………………………………………….……………..1 B. The Academy…………………………..……...……….....…...….…………..…2 C. Art and the Social History of Impressionism…….…….………….……..…...…5 D. Installation Practices…...………………………..……………….………..….…8 Chapter 2: Dealers and Collectors……………………………………………….……….…15 A. Durand-Ruel………………………………………………….…………………15 -
Manet, Flaubert, and the Emergence of Modernism Blurring Genre Boundaries
Manet, Flaubert, and the Emergence of Modernism Blurring Genre Boundaries ARDEN REED Pomona College PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 RU, UK 40 West 20th Street, New York, NY 10011–4211, USA 477 Williamstown Road, Port Melbourne, VIC 3166, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Arden Reed 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typefaces ITC Galliard 10/13.5 pt. System Quark XPress™ [MG] A catalog record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Reed, Arden, 1947– Manet, Flaubert, and the emergence of modernism/Arden Reed p. cm. – (Cambridge studies in new art history and criticism) Includes bibliographical references and index. ISBN 0-521-81505-3 (HB) 1. Ut pictura poesis (Aesthetics). 2. Modernism (Aesthetics) – France – History – 19th century. 3. Manet, Édouard, 1832–1883 – Criticism and interpretation. 4. Flaubert, Gustave, 1821–1880 – Criticism and interpretation. I. Title. II. Series. NX170.R43 2003 700´.4112´0944 – dc21 2002031556 ISBN 0 521 81505 3 hardback Contents List of Illustrations ✴ xi Acknowledgments ✴ xv 1 Framing Manet and Flaubert ✴ 1 2 In and around “1866”: Paris, Courbet, the Salon of 1868 ✴ 20 3 The Stain of Modernism ✴ 56 4 Canvasing the Jeune dame ✴ 92 5 Allegory of Beholding ✴ 146 6 Stained Glass: Graphing Saint Julien ✴ 175 7 Domestic Stains: Graphing Félicité ✴ 202 Afterimages ✴ 227 Notes ✴ 245 Bibliography ✴ 325 Index ✴ 335 ix Illustrations Color Plates Plates I–VIII follow p.