The women in Impressionist painting represent the full spectrum
of faces of the 19th-century woman, from elite portraiture to
working class scenes. Women and Impressionism examines
the avant-garde position of the Impressionists, whose paintings
depicted a series of conceptual and historical shifts by depicting
traditional, visual schemes with added new meanings, contributing
visually to the breakthrough of the modern. The concept of "the
new woman" came into existence in this confrontation of
conflicting interests. Women and Impressionism begins
with an examination of two works by Manet—La Maîtresse
de Baudelaire couchée, 1862, and Portrait de Zacharie
Astruc, 1866. The volume then traces the representation
of women as it manifested in the work of the Impressionists
in the 1870s and the early 1880s. The exhibition catalog includes
a number of works from the New York Carlsberg Glyptotek collection
as well as from prestigious international private and public
institutions.
Updated in a useful format, the revised edition of the most
popular volume on French Impressionism celebrates the richness
and exuberance of the Impressionists' world. Kelder's thoughtful,
cogent text is interwoven with anecdotes and excerpts from contemporary
essays and letters which examine in detail the lives and works
of all the major Impressionists and Post-Impressionists, including
Monet, Degas, Renoir, Manet, and Cezanne. 400 illustrations,
229 in color.
The channel port of Le Havre played a key role in the development
of Impressionist painting. It was there that Monet painted Impression,
sunrise, the work that gave the movement its name. Many other
artists of the period were associated with the town, from Monet's
teacher Boudin to the colourful and exuberant favourite of a
younger generation, Raoul Dufy.
In this engrossing book, Hollis Clayson provides the first description
and analysis of French artistic interest in women prostitutes,
examining how the subject was treated in the art of the 1870s
and 1880s by such avant-garde painters as Cezanne, Degas, Manet,
and Renoir, as well as by the academic and low-brow painters
who were their contemporaries.
Clayson not only illuminates the imagery of prostitution—with
its contradictory connotations of disgust and fascination—but
also tackles the issues and problems relevant to women and men
in a patriarchal society. She discusses the conspicuous sexual
commerce during this era and the resulting public panic about
the deterioration of social life and civilized mores. She describes
the system that evolved out of regulating prostitutes and the
subsequent rise of clandestine prostitutes who escaped police
regulation and who were condemned both for blurring social boundaries
and for spreading sexual licentiousness among their moral and
social superiors. Clayson argues that the subject of covert
prostitution was especially attractive to vanguard painters
because it exemplified the commercialization and the ambiguity
of modern life.
This is a reprint of the book first published by Yale University
Press in 1991.
Sumptuously illustrated with many of the most beautiful Impressionist
images, this book presents provocative new interpretations of a
wide range of famous masterpieces, showing how they were fully integrated
into the social and cultural life of the times.
From Manet's earliest depictions of the Tuileries Gardens in Paris
to Monet's late waterlilies painted at Giverny, the Impressionists
had an ongoing love affair with gardens. As places of rest, relaxation,
and beauty, gardens were the Impressionist subject par excellence.
This beautifully illustrated volume is the first consideration of
this beloved theme in the Impressionists' work.
Here the artists' fascination with gardens, parks, and flowers is
explored in the context of the contemporary craze for horticulture
and the changing political and cultural landscape in France. Drawing
on archival sources such as horticultural journals as well as literature,
poetry, and correspondence, the book describes how gardens, simultaneously
"modern" and imbued with nostalgia, were central to the
Impressionists' discovery of their distinctive plein-air (out-of-doors)
style. At the same time, by bringing to life the 19th-century tradition
of floral symbolism and exploring how it infiltrated the work of
key Impressionists, the book gives familiar works radical new interpretations.
This vital contribution to our understanding of the Impressionist
world is sure to delight art and gardening enthusiasts alike.
In a legacy of canvases rich in carefree conviviality, the work
of the Impressionists bears witness to an insatiable appetite for
life, food, and friendship. Eating and drinking have always been
at the heart of French culture, and the luminous paintings of artists
such as Renoir, Degas, Manet, Monet, Czanne, and Pissarro record
the minutiae of caf and domestic life, from exquisite still lifes
to a table laid beguilingly for an open-air lunch. In The Impressionists'
Table, Pamela Todd has gathered100 timeless, traditional French
recipes: Lamb and Artichokes, Grilled Sea Bass with Butter Sauce,
Provenal Beef Stew, Tarte Tatin. Lavishly illustrated in color with
paintings by all the great artists, as well as enticing photos of
the dishes themselves, this sumptuous volume links the world's most
sophisticated cuisine with its best-loved artists.
Early Impressionism and the French State explores the reception
of modernist painting in the years that preceded the Impressionist
exhibition of 1874. Opening with an extensive analysis of the ministry
of fine arts and the politics of the Salon, the study considers
the Salon experiences of Courbet, Manet, and the group that became
known as the Impressionists: Monet, Renoir, Pissarro, Degas, Morisot,
Cézanne, and Bazille. This book also examines how art was
politicized during the Second Empire and the impact that this had
on the interpretation of early Impressionist works.
Here at last—reproduced in color for the first time ever—are
more than 100 major landmarks of European painting from the superb
collection of The Barnes Foundation in Merion, Pennsylvania. These
paintings are the crown jewels of the extraordinary collection assembled
in the early twentieth century by Dr. Albert C. Barnes, the bold
and original collector who established the Foundation in 1922 as
a school for the study of art and philosophy. Now, after six decades
of limited access to visitors and a ban on color reproduction, the
Barnes Foundation welcomes a wider audience through the publication
of this magnificent volume. Manet, Renoir, Monet, Cezanne, van Gogh,
Gauguin, Seurat, Toulouse-Lautrec, Rousseau, Soutine, La Fresnaye,
Modigliani, Picasso, Braque, and Matisse—the list of artists
gives only a hint of the splendors this book contains. 323 illustrations,
154 in full color.
Impressionists on the Seine Format:
Closed-captioned, Color, NTSC
VHS Release Date: June 6, 2000
Run Time: 30 minutes
Jacqueline Bisset narrates this PBS-produced history of the Impressionist
art movement, born long the Seine in 1870s Paris and exemplified
by such masterpieces as Renoir's "Luncheon of the Boating Party."
Impressionists on the Seine captures the beauty and moods
of life along the River Seine in the 1870s. Archival photos and
over 45 masterpieces by celebrated French Impressionists re-create
the intense period (1869-1881) when these painters established a
new course for Western art. The works of Renoir, Monet, Manet, Sisley,
Pissarro, Morisot, and Caillebotte are discussed by historians and
the experts who organized The Phillips Collection exhibit on which
this program is based.
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cover displayed.
Women
in Impressionism: From Mythical Feminine to Modern Woman
The Great Book of French Impressionism
Boudin to Dufy: Impressionist and Other Masters from the
Musees Des Beaux-Arts, Le Havre
Painted Love: Prostitution in French Art of the Impressionist
Era 
Impressionism An Intimate View: Small French Paintings In The
National Gallery Of Art
Impressionism: Art, Leisure, and Parisian Society
Early Impressionism and the French State (1866-1874)
Great French Paintings from the Barnes Foundation: Impressionist,
Post-Impressionist, and Early Modern 
Impressionists on the Seine 
Closed-captioned, Color, NTSC
