This beautiful volume offers a comprehensive overview of Impressionist landscape painting from an incomparable collection. During the 1860s, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley joined forces to revolutionize art with light- flooded landscapes that dispensed with the conventional imagery of the time. In 1874, with their penchant for working out of doors in order to capture fleeting sensory impressions directly on the canvas, they came to be known as the "Impressionists." Berthe Morisot, Paul Cézanne, and Gustave Caillebotte became affiliated with the new tendency as well. More than a decade later, artists such as Paul Signac and Henri-Edmond Cross developed their pioneering ideas further, and in 1901, during his first year in Paris, the young Pablo Picasso too drew inspiration from the Impressionist style. No comparable collection provides such a comprehensive overview of Impressionist landscape painting and its development as the one assembled in recent decades by Hasso Plattner, founder of the Museum Barberini. On its basis, Ortrud Westheider, the director of the Museum Barberini, presents the history of French Impressionism. With its focus on the transitory moment, the artistry of the Impressionists continues to exert a powerful fascination. Guided by the interplay between light and atmosphere, they created exquisite and timeless images whose innovative spirit and vitality continue to delight viewers today.
Impressionist Art, 1860-1920: Impressionism in France
I5 15 1956 Elderfield, John. European master paintings from Swiss collections: post- impressionism to World War II: [exhibition] / by John Elderfield; foreword by William Rubin. Published/Created: New York: Museum of Modern Art, c1976.
A new perspective on Impressionist art that offers revealing, fresh interpretations of familiar paintings In this handsome book, a leading authority on Impressionist painting offers a new view of this admired and immensely popular art form.
Without a doubt, this singularity was explained when, shortly before his death, Claude Monet wrote: “I remain sorry to have been the cause of the name given to a group the majority of which did not have anything Impressionist.” In this ...
The Impressionists were scorned by the establishment during their lifetime, yet they are now among the most popular artists of all time. This volume includes the work of some of...
Simply put, the idea of Monet's art as in crisis seems formalist. ... Expressionist artists, critics, and curators in the 1950s and 1960s, among them Clement Greenberg and William Seitz, whose 1960 text on Monet saw wide circulation.
The art of the Impressionists is beloved of experts and non-experts alike. Paul Smith reexamines this popular group of artists in light of recent scholarship on the social context of...
In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-Franocois Raffaeelli, and James Ensor, artists who shared a concern with painting and temporality ...
No artistic education is complete without a healthy dose of the Impressionists. Here fifty of the most important works from the early nineteenth through the early twentieth centuries are gorgeously...
Wechsler 1 9X2. and Isaacson 19X2. Art historians first began commenting on this by focusing on specific borrowings, such as Degas's from Daumier, or Manet's from popular illustrations, and subsequently by broader inquiries into the ...