In Odd Man Out, Carol Armstrong offers an important study of Edgar Degas's work and reputation. Armstrong grapples with contradictory portrayals of Degas as odd man out within the modernist canon: he was a realist whom realists rejected; a storyteller in pictures who did not satisfy novelist-critics; a painter of modern life who was not a modernist; a member of the impressionist group who was no impressionist. Armstrong confronts these and other paradoxes by analyzing the critical vocabularies used to describe Degas's work. By reading several groups of the artist's images through the lens of a sequence of critical texts, Armstrong shows how our critical and popular expectations of Degas are overturned and subverted. This is a reprint of the book first published by the University of Chicago Press in 1991.
4; purchased at that sale by Durand-Ruel, for James Hill, Saint Paul, Minnesota, for 81,000 francs; James Hill, Saint Paul (inventory no. 24.2); Louis W Hill St; Jerome Hill, New York; bequeathed by him to The Minneapolis Institute of ...
F. Villot, Notice des tableaux. . . du Musée Impérial du Louvre, 3 vols., Paris, 1855, II, no. 99. ... _On the influence of Veronese's version on French art at the time of La Fosse, see K. T. Parker and J. Mathey, Antoine Watteau, ...
Monet in the Twentieth Century
The stencil “B” that appears on the Standish Pereyra would not argue against an execution in Spain, as Standish spent many years in Seville and was in close contact there with the painter Adrien Dauzats, who worked for Taylor, ...
In these revealing essays on David's modernity, Dorothy Johnson examines the aesthetic innovations and ongoing artistic metamorphosis that shaped a career attuned to intellectual as well as political change.
Bonnard
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"The first publication on Degas's mature work ... presents a new and definitive view of his last decades ... drawings, pastels, oil paintings, and sculptures."--Jacket.