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Description: A.A.E. Disdéri and the Carte de Visite Portrait Photograph
Print publication date September 1985 (out of print)
Print ISBN 9780300031690
EISBN 9780300253337
Illustrations 204
Print Status out of print
Description: The Academy and French Painting in the Nineteenth Century
Using words and works of both pupils and masters of the French Academy of Beaux-Arts, this fascinating book provides a wealth of information about the environment and studio practices of French official art from 1830 to 1890. Albert Boime describes the training of new pupils in the Academic ateliers, from the time they began and were set to copy engravings and casts to their copying of the old masters in the Louvre to their work before the live model and landscape painting out-of-doors. Boime's account includes not only a history of the transition from guild-controlled arts sanctioned by the church to an academic system sponsored by the state but also a reassessment of the positive role played by the Academy's teaching program in the evolution of the independent movements of the nineteenth century.
Print publication date June 1986 (out of print)
Print ISBN 9789998002845
EISBN 9780300244458
Illustrations 161
Print Status out of print
Description: Art and the French Commune: Imagining Paris after War and Revolution
In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"—the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"—the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat.

Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.
Print publication date January 1995 (in print)
Print ISBN 9780691015552
EISBN 9780300251708
Illustrations 164
Print Status in print
Description: The Art of Impressionism: Painting Technique & the Making of Modernity
This important book is the first full-scale exploration of Impressionist technique. Focusing on the easel-painted work of Monet, Pissarro, Renoir, Cézanne, Cassatt, Morisot, Caillebotte, Sisley, and Degas in the period before 1900, it places their methods and materials in a historical perspective and evaluates their origins, novelty, and meanings within the visual formation of urban modernity.

Drawing on scientific studies of pigments and materials, artists’ treatises, colormens’ archives, and contemporary and modern accounts, Anthea Callen demonstrates how raw materials and paintings are profoundly interdependent. She analyzes the material constituents of oil painting and the complex processes of “making” entailed in all aspects of artistic production, discussing in particular oil painting methods for landscapists and the impact of plein air light on figure painting, studio practice, and display. Insisting that the meanings of paintings are constituted by and within the cultural matrices that produced them, Callen argues that the real “modernity” of the Impressionist enterprise lies in the painters’ material practices. Bold brushwork, unpolished, sketchy surfaces, and bright, “primitive” colors were combined with their subject matter—the effects of light, the individual sensation made visible—to establish the modern as visual.

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Print publication date December 2000 (out of print)
Print ISBN 9780300084023
EISBN 9780300238136
Illustrations 281 Illus.
Print Status out of print
Description: Art of the Actual: Naturalism and Style in Early Third Republic France,...
The French Republic—with its rallying cry for liberty, equality, and fraternity—emerged in 1870, and by 1880 had developed a coherent republican ideology. The regime pursued secular policies and emphasized its commitment to science and technology. Naturalism was an ideal aesthetic match for the republican ideology; it emphasized that art should be drawn from the everyday world, that all subjects were worthy of treatment, and that there should be flexibility in representation to allow for different voices.

Art of the Actual examines the use of naturalism in the nineteenth century. It explores how pictures by artists such as Roll, Lhermitte, and Friant could be read as egalitarian and republican, assesses how well-known painters including Degas, Monet, and Toulouse-Lautrec situated their painting vis-à-vis the dominant naturalism, and opens up new arguments about caricatural and popular style. By illuminating the role of naturalism in a broad range of imagery in late nineteenth-century France, Richard Thomson provides a new interpretation of the art of the period.

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Print publication date January 2013 (in print)
Print ISBN 9780300179880
EISBN 9780300254211
Illustrations 244
Print Status in print
Description: Centre Pompidou: Renzo Piano, Richard Rogers, and the Making of a Modern Monument
“Francesco Dal Co has reconstructed an incredible adventure and his account is revelatory. Upon reading it, I realized many things that I had personally experienced but had never before understood.”—Renzo Piano


The Centre Georges Pompidou, also called Beaubourg, is today considered an icon of contemporary Paris, the quintessence of a modern building, and a model for what a museum can be. In 1971, Renzo Piano and Richard Rogers, together with the engineering firm Ove Arup & Partners, won an international architecture competition with their innovative and irreverent design. Completed in 1977, the building was at first received skeptically by critics, yet it was quickly embraced by the public as a beloved monument of the modern city of Paris. This lively intellectual biography of the building explores its history and the reasons for its success, from its genesis as a politically calculated response to Paris’s turbulent 1968 student protests to the role played by architects in its construction, as well as the historical influences and the engineering solutions that inform its design. A key reason for the Centre Pompidou’s success indeed lies in its ability to channel architectural memory, connecting it powerfully to Paris’s historic urban fabric. This essential text on one of the twentieth century’s most significant buildings is accompanied by a portfolio of rare drawings and photographs. 

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Print publication date November 2016 (in print)
Print ISBN 9780300221299
EISBN 9780300264241
Illustrations 137
Print Status in print
Description: Degas at Harvard
This handsome book presents more than seventy paintings, drawings, prints, photographs, and sculptures by Edgar Degas (1834–1917) in Harvard University’s collections—one of the most important holdings of the artist’s work in the United States. In 1911, the Fogg Art Museum was the first museum to mount a one-man exhibition on Degas and was the only museum to do so during the artist’s lifetime. This book examines the history of Degas’s reception in the U.S., and in particular the pivotal role that Harvard played.

Marjorie Benedict Cohn offers a historical account of the formation of the prized collection of Degas’s works at the Fogg. Jean Sutherland Boggs provides an engaging personal recollection of her initial encounter in 1944 with Degas and his champion at the Fogg, associate director Paul J. Sachs, who inspired not only Boggs’s later work on Degas but also that of many other art historians, museum directors, and curators.

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Print publication date August 2005 (in print)
Print ISBN 9780300111446
EISBN 9780300243901
Illustrations 88
Print Status in print
Description: Extremities: Painting Empire in Post-Revolutionary France
In the decades following the French Revolution, four artists—Girodet, Gros, Géricault, and Delacroix—painted works in their Parisian studios that vividly expressed violent events and issues in faraway, colonial lands. This highly original book examines six of these paintings and argues that their disturbing, erotic depictions of slavery, revolt, plague, decapitation, cannibalism, massacre, and abduction chart the history of France’s empire and colonial politics.

Darcy Grimaldo Grigsby shows that these paintings about occurrences in the West Indies, Syria, Egypt, Senegal, and Ottoman Empire Greece are preoccupied not with mastery and control but with loss, degradation, and failure, and she explains how such representations of crises in the colonies were able to answer the artists’ longings as well as the needs of the government and the opposition parties at home. Empire made painters devoted to the representation of liberty and the new French nation confront liberty’s antithesis: slavery. It also forced them to contend with cultural and racial differences. Young male artists responded, says Grigsby, by translating distant crises into images of challenges to the self, making history painting the site where geographic extremities and bodily extremities articulated one another.

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Print publication date May 2002 (out of print)
Print ISBN 9780300088878
EISBN 9780300259100
Illustrations 221
Print Status out of print
Description: Facture: Conservation Science Art History Volume 3: Degas
This volume of Facture, a biennial journal that presents the latest conservation research on works of art at the National Gallery of Art, Washington, focuses exclusively on conservation treatment, technical art history, and scientific research related to masterpieces by the beloved French artist Edgar Degas (1834–1917).  The National Gallery’s extraordinary collection of sculptures, paintings, and works on paper by Degas, including an incomparable group of his wax sculptures—among them his iconic Little Dancer Aged Fourteen—allows the institution to contribute significantly to understanding the artist’s methods and intentions. This volume features discussions of the notion of “finish” in Degas’s paintings, the complex makeup of his wax sculptures, the casting of posthumous bronzes, his innovative use of multiple layers of pastel and fixative in a late work on paper, and even a sonnet that Degas wrote to his “little dancer.”
Author
Print publication date August 2017 (in print)
Print ISBN 9780300230116
EISBN 9780300257540
Illustrations 149
Print Status in print
Description: Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French...
Focusing on the art of Henri Fantin-Latour (1836–1904) and his colleagues Gustave Courbet, Edgar Degas, Edouard Manet, Frédéric Bazille, and Pierre-Auguste Renoir, Fellow Men argues for the importance of the group as a defining subject of nineteenth-century French painting. Through close readings of some of the most ambitious paintings of the realist and impressionist generation, Bridget Alsdorf offers new insights into how French painters understood the shifting boundaries of their social world, and reveals the fragile masculine bonds that made up the avant-garde.

A dedicated realist who veered between extremes of sociability and hermetic isolation, Fantin-Latour painted group dynamics over the course of two decades, from 1864 to 1885. This was a period of dramatic change in French history and art—events like the Paris Commune and the rise and fall of impressionism raised serious doubts about the power of collectivism in art and life. Fantin-Latour's monumental group portraits, and related works by his friends and colleagues from the 1850s through the 1880s, represent varied visions of collective identity and test the limits of association as both a social and an artistic pursuit. By examining the bonds and frictions that animated their social circles, Fantin-Latour and his cohorts developed a new pictorial language for the modern group: one of fragmentation, exclusion, and willful withdrawal into interior space that nonetheless presented individuality as radically relational.
Print publication date January 2012 (in print)
Print ISBN 9780691153674
EISBN 9780300249682
Illustrations 169
Print Status in print
Description: The Final Testament of Père Corbu: A Translation and Interpretation of Mise au...
Le Corbusier, the most influential architect of the twentieth century, died in 1965 only weeks after completing Mise au point, his last opus in the form of autobiographical reflections. Published posthumously, it is a curious and cryptic text, yet it sheds an important light on the great artist’s mind and temperament. This book is the first English translation of Mise au point, the first illustrated critical bilingual edition, and the first attempt to integrate this document into Le Corbusier’s life as a whole, especially its final embittered years.

In an insightful introduction and in annotations, Ivan Žaknić shows how the themes of the text echo the contradictions of Le Corbusier’s personality: determined to rebuke society and yet constantly courting its approval; devoted to serving the public and yet returning again and again to a solitary monastic ideal; distrusting professional institutions, the academy, and the government and yet stung by their willingness to pass him by. Žaknić links the themes of this text with Le Corbusier’s passion for certain literary works, especially Don Quixote, and emphasizes the architect’s many philosophical formulas for coming to terms with death—first that of his beloved wife and then his own. Including a revealing interview granted by Le Corbusier in the final months of his life, the volume is important for students of Le Corbusier’s art, architecture, and urban planning, as well as by those interested in modernism and twentieth-century culture.
Author
Print publication date August 1997 (in print)
Print ISBN 9780300063530
EISBN 9780300226898
Illustrations 124
Print Status in print
Description: From San Juan to Paris and Back: Francisco Oller and Caribbean Art in the Era of...
Francisco Oller (1833–1917) was a Puerto Rican painter whose work was admired on both sides of the Atlantic. A native of San Juan, Oller spent over twenty years in Europe, establishing himself as one of the most distinguished transatlantic painters of his day. Oller participated in the pioneering movements of Realism, Impressionism, and naturalism, and he developed mutually influential relationships with such artists as Camille Pissarro and Gustave Courbet. These artistic trends informed his novel Realist-Impressionist approach, with which he would revolutionize the school of painting in his native Puerto Rico.

In this original and important book, Edward J. Sullivan advances close readings of works spanning Oller’s entire career and offers insights into the development of the Caribbean basin in the nineteenth century. From San Juan to Paris and Back recasts Oller as a central figure in nineteenth-century art and restores the significance of Oller’s work and his influence in shaping a uniquely Caribbean aesthetic.

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Print publication date October 2014 (out of print)
Print ISBN 9780300203202
EISBN 9780300263978
Illustrations 99
Print Status out of print
Description: Georges Seurat: The Art of Vision
This revelatory study of Georges Seurat (1859–1891) explores the artist’s profound interest in theories of visual perception and analyzes how they influenced his celebrated seascape, urban, and suburban scenes. While Seurat is known for his innovative use of color theory to develop his pointillist technique, this book is the first to underscore the centrality of diverse ideas about vision to his seascapes, figural paintings, and drawings. Michelle Foa highlights the importance of the scientist Hermann von Helmholtz, whose work on the physiology of vision directly shaped the artist’s approach. Foa contends that Seurat’s body of work constitutes a far-reaching investigation into various modes of visual engagement with the world and into the different states of mind that visual experiences can produce. Foa’s analysis also brings to light Seurat’s sustained exploration of long-standing and new forms of illusionism in art.
Print publication date July 2015 (in print)
Print ISBN 9780300208351
EISBN 9780300248074
Illustrations 141
Print Status in print
Description: Globalizing Impressionism: Reception, Translation, and Transnationalism
Alexis Clark (Editor), Frances Fowle (Editor)
For many decades, impressionism has occupied a central place in the canon of art history, but new transnational approaches to the study of nineteenth-century art have complicated the perpetuation of Francocentric histories. As the field’s attention has increasingly turned to places outside of France, including Britain, the United States, Australia, and beyond, the time is ripe to place impressionism within a global context.

In this collection of 14 essays, a distinguished group of scholars deploy new methodological tools, theories, and paradigms to explore how impressionism as an artistic language simultaneously operated locally, nationally, and internationally around the world; how Europe, especially Paris, has existed as a privileged center of modernity and modern art; how a transnational network of artists, critics, scholars, curators, and dealers worked across linguistic, institutional, geographical, and political boundaries; and much more. These texts, while not abandoning France and French impressionism, contribute to the ongoing work to dismantle the franco-centrism of impressionism studies and the anglocentrism of art history as a discipline.

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Author
Alexis Clark (Editor), Frances Fowle (Editor)
Print publication date July 2020 (in print)
EISBN 9780300247756
Illustrations 92
Print Status in print
Description: Impressionism: Art, Leisure, and Parisian Society
This remarkable book, now a classic in its field, has transformed the way we look at Impressionist art. The culmination of twenty years of research by preeminent scholar Robert L. Herbert, Impressionism fundamentally revised the conventional view of this famous artistic movement and shows how it was fully integrated into the social and cultural life of the times.

The author explores the themes of leisure and entertainment that dominated the great years of Impressionist painting between 1865 and 1885. Cafes, opera houses, dance halls, theaters, racetracks, and vacations by the sea were the central subjects of the majority of these paintings, and Herbert relates these pursuits to the transformation of Paris under the Second Empire. This book presents provocative new interpretations of a wide range of famous masterpieces. Artists are seen to be active participants in, as well as objective witnesses to, contemporary life, and there are many profound insights into the social and cultural upheaval of the times.
Print publication date September 1988 (in print)
Print ISBN 9780300042627
EISBN 9780300233964
Illustrations 311 illus.
Print Status in print
Description: Impressions of Light: The French Landscape from Corot to Monet
This fascinating journey through the art of the 19th-century French landscape offers a host of masterful works, among them Corot's Forest of Fontainbleau, Millet's End of the Hamlet of Gruchy, Renoir's Rocky Crags at L'Estaque, and Monet's Rue de la Bavolle, Honfleur. As is often the case, however, some of the most wonderful things to see are also the least expected: rare and unusual monotypes by Degas, three states of a softground etching by Pissarro, and numerous works by some of their lesser-known but equally important contemporaries. Unlike previous books on the topic, Impressions of Light presents a unique and stunningly complete group of work that introduces a new level of complexity into the discussion of French landscapes. Rather than considering the landscape as a steady, linear development and the product of a single medium, it takes into account the many crosscurrents and intersecting developments in French art, from the Barbizon school through the post-Impressionist period. In addition, it studies the landscape in a variety of media--painting, prints, and photography--exploring both the individual artists' perceptions and the ways in which they influenced each other. With over 80 paintings and 70 works on paper from the Museum of Fine Arts, Boston's collections, and published to accompany a major exhibition, Impressions of Light encompasses more than 100 years and 56 artists working in a dozen different media. It holds the broadest possible view, yet never loses sight of the extraordinary intricacy that makes the landscape so enduringly appealing.

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Print publication date January 2002 (out of print)
Print ISBN 9780878466467
EISBN 9780300260526
Illustrations 213
Print Status out of print
Description: Industrial Madness: Commercial Photography in Paris, 1848–1871
In 1848 there were thirteen commercial photographic studios in the city of Paris. By 1871 this number had expanded to almost 400. This book is the first to analyze the origins of professional photography during the Second Empire and its transformation from a novel curiosity to a vital part of the urban environment.

Drawing on extensive archival documentation, Elizabeth Anne McCauley profiles the people who became commercial photographers—the innovators, entrepreneurs, and "artistes" who tried to earn their fortunes but were beset by bankruptcy and failure. She also discusses the business of photography—the ways studios were formed, products promoted, and financial backers found. In a detailed analysis of five studios that represent different aspects of commercial production, from industrial photographs to art reproductions, McCauley uncovers the social, political, and psychological needs that each type of photography satisfied. For example, in a groundbreaking examination of the market for photographs of female nudes, McCauley documents how the photographs reinforced masculine stereotypes of female sexual passivity, how government responses to such images reflected the precariousness of Napoleon III's political power, and how the photographs were positioned within ongoing arguments about realism as a new literary and artistic movement. Industrial Madness is not only an innovative contribution to the sociology of the arts but also an exploration of the ways ideology and visual representation intersected during the decades that saw the birth of modernism.

The book also includes a comprehensive listing of commercial photographers working in Paris between 1848 and 1871.

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Print publication date March 1994 (out of print)
Print ISBN 9780300038545
EISBN 9780300253344
Illustrations 141
Print Status out of print
Description: The Ivory Mirror: The Art of Mortality in Renaissance Europe
We often imagine the Renaissance as an age of exceptional human progress and artistic achievement. But, intriguingly, macabre images proliferated in precisely this period: unsettling depictions of Death personified, of decaying bodies, of young lovers struck down in their prime. These morbid themes run riot in the remarkable array of artworks featured in The Ivory Mirror. Nearly 200 artworks—from ivory prayer beads to gem-encrusted jewelry to exquisitely carved small sculptures—present us with an aspect of this era that is at once darker and more familiar than we might have expected. Focused on the challenge of making choices in an increasingly complex and uncertain world, Renaissance artists turned to poignant, often macabre imagery to address the critical human concern of acknowledging death, while striving to create a personal legacy that might outlast it. The essays gathered here discuss the development and significance of this transformative art of the past, while exploring themes that are still relevant today: how does one navigate the implicit tension between mortality and morality and seek to balance individual pleasure with the pursuit of a greater good?

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Print publication date September 2017 (in print)
Print ISBN 9780300225952
EISBN 9780300260007
Illustrations 161
Print Status in print
Description: Louis Le Vau: Mazarin’s Collège, Colbert’s Revenge
From Vaux-le-Vicomte to Versailles, the buildings of Louis Le Vau shaped the image of French court society. None, however, has had as dramatic an effect as Mazarin's Collège (1661–70), the Parisian landmark that now houses the Institut de France. In this first English-language book on Louis XIV's celebrated architect, Hilary Ballon deftly portrays the brilliance and controversy of Le Vau's late career through an exploration of this masterpiece, a hybrid of baroque and classical styles. She tracks the design and construction of the Collège on the basis of splendid drawings, fully illustrated here, integrating into this account previously unknown dimensions of Le Vau's creative personality, his financial entanglements, and his feuds with government leaders.

The story of the Collège begins in 1661 with the death of Cardinal Mazarin, who left an extravagant sum of money for a school to be built in his memory. Le Vau responded with an ambitious architectural tribute intended to launch the development of Paris in a new artistic direction. As Ballon shows, many personal factors figured into the final product, including Le Vau's activities as a real estate developer and entrepreneur, and his explosive response to the Italian baroque master Gianlorenzo Bernini, who visited Paris in 1665. The project ended up significantly over budget, and officials charged Le Vau shortly after his death with embezzling funds. The chief minister, Jean-Baptiste Colbert, led the attack on Le Vau, turning the ethical scandal into an aesthetic crusade to maintain a "classical" look for central Paris.

By relating the intriguing context in which the Collège was created, Ballon explains why traditional definitions of the baroque and classical styles have failed to offer a cohesive understanding of the building. Her examination of the elements informing Le Vau's personal style and his relationship with Colbert brings into sharper focus the phenomenon of royal patronage and opens a new perspective on the development of French classicism at a turning point in Parisian architectural history.
Print publication date September 1999 (out of print)
Print ISBN 9780691048956
EISBN 9780300251692
Illustrations 109
Print Status out of print
Description: Manet and the Family Romance
Édouard Manet's paintings have long been recognized for being visually compelling and uniquely recalcitrant. While critics have noted the presence of family members and intimates in paintings such as Le Déjeuner sur l'herbe, Nancy Locke takes an unprecedented look at the significance of the artist's family relationships for his art. Locke argues that a kind of mythology of the family, or Freudian family romance, frequently structures Manet's compositional decisions and choice of models. By looking at the representation of the family as a volatile mechanism for the development of sexuality and of repression, conflict, and desire, Locke brings powerful new interpretations to some of Manet's most complex works.

Locke considers, for example, the impact of a father-son drama rooted in a closely guarded family secret: the adultery of Manet père and the status of Léon Leenhoff. Her nuanced exploration of the implications of this story—that Manet in fact married his father's mistress—makes us look afresh at even well-known paintings such as Olympia. This book sheds new light on Manet's infamous interest in gypsies, street musicians, and itinerants as Locke analyzes the activities of Manet's father as a civil judge. She also reexamines the close friendship between Manet and the Impressionist painter Berthe Morisot, who married Manet's brother. Morisot becomes the subject of a series of meditations on the elusiveness of the self, the transience of identity, and conflicting concerns with appearances and respectability. Manet and the Family Romance offers an entirely new set of arguments about the cultural forces that shaped these alluring paintings.
Print publication date January 2001 (out of print)
Print ISBN 9780691114842
EISBN 9780300265880
Illustrations 97
Print Status out of print
Description: Manet and the Modern Tradition
Although Edouard Manet has long been regarded as one of the greatest nineteenth-century French artists, there has been little agreement about the real character of his contribution. His beautifully executed paintings often reveal curious tensions in the handling of space and color and leave his intentions unclear. Contemporary writers such as Zola and Mallarmé view his work very differently, and art historians and critics interpret his work in many ways, from strict formalism, devoid of meaning, to internalized musings full of hidden symbolism.

In this investigation of the artist and the society in which he lived, Anne Coffin Hanson examines the ambiguities that surround Manet. Manet is seen not just as an artistic genius, but as a man of his times, subject to the same influences and interests as his contemporaries, and painting, at least initially, with the same knowledge of his craft as his fellow artists. What emerges is a totally new concept of the man and what he was trying to do: a modern artist, complex, witty, ironical, and deeply involved in the world of his day.

Hanson first studies the ideas about art and life to which Manet was exposed through literature and his associations with literary friends. She then analyzes Manet's subject matter considering the influence of traditional masterpieces, as well as current, less-elevated popular imagery. Finally, she considers how he painted, what he learned from his teacher and from the models he admired, and how he developed his own extraordinarily expressive technique. The controlling theme through the book is la vie moderne—that sense of anticipation and enthusiasm about a modern life which would be essentially different from the past, yet rooted in the French tradition. Manet's art expressed the transitory feelings of this crucial moment in French history and yet remains profoundly beautiful and lasting.
Print publication date January 1977 (out of print)
Print ISBN 9780300019544
EISBN 9780300235869
Illustrations 135 illus.
Print Status out of print
Description: Manet Manette
Manet, a founding father of modernism, is one of the towering figures of nineteenth-century art. In this absorbing book, Carol Armstrong looks closely at Manet’s works to uncover a novel and compelling view not only of the artist but also of modernity itself. As she places his art within frameworks of color, the feminine Other (the “Manette” in “Manet”), and consumerism, Armstrong greatly expands and revises our understanding of this artist as a painter of modern life.

Surveying most of Manet’s diverse output, the book addresses along the way his methods of self-presentation, his exhibition strategies, the relation of his etchings and paintings, the significance of his relationships with the model Victorine Meurent and the painter Berthe Morisot, the painterly construction of identity and gender difference, and much more. At the same time, the book considers contemporary writings by Baudelaire, Zola, the Goncourts, and others who dealt with issues relating to artistic identity and modernity, painting, the model, and femininity. Armstrong concludes that Manet’s work demonstrates consistent preoccupations with defining and contradicting his own signature style of painting and with the gendering of costume, color, and the making of his art. These preoccupations, she shows, suggest a new understanding of Manet’s oeuvre.
Print publication date September 2002 (out of print)
Print ISBN 9780300096583
EISBN 9780300234404
Illustrations 174 illus.
Print Status out of print
Description: Matisse Portraits
The devotion of Henri Matisse to the human figure led him to make portraits of many different sitters—members of his family, fellow artists, professionals in other fields, patrons, and various others. At key points in his career, he was also an obsessive observer of himself, creating intense series of self-portraits. This pioneering book offers the first full account of Matisse’s activity as a maker of portraits and self-portraits.

Matisse scholar John Klein goes beyond standard approaches to portraiture that focus on questions of likeness and expression of character. He considers the transaction that produces a portrait—a transaction between the artist and the sitter (even when the sitter is oneself) that is social as much as artistic. Klein investigates the various social contexts of Matisse’s sitters and finds that differences among these contexts produced different kinds of portraits and self-portraits with different goals. This was in part due to the personal and social identity of the sitter, but partly also to Matisse’s self-perception with respect to the sitter and his goal of engaging the genre as a mode of personal expression. Klein also addresses the vexing question of whether depictions of hired models can be considered as portraits and concludes that they lack the social context that is necessary to portraiture.

Through the psychological and contextual examination of Matisse’s portraits and self-portraits, Klein throws new light on an important body of work by this influential artist. The author also discusses the portrait practice of some of Matisse’s contemporaries—Picasso, Kirchner, Bonnard, Vallotton, and Boldini—to develop fresh insights into the status of portraiture within twentieth-century art as a whole.

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Print publication date October 2001 (out of print)
Print ISBN 9780300081008
EISBN 9780300233841
Illustrations 206 Illus.
Print Status out of print
Description: The Myth of Nouveau Réalisme: Art and the Performative in Postwar France
On October 27, 1960, art critic Pierre Restany named a group of Paris-based artists the “Nouveaux Réalistes” (New Realists) in a founding declaration that stated, “The New Realists recognize their collective singularity. New Realism = new perceptual approaches of the real.” Besides Restany, this group included Arman, François Dufrêne, Raymond Hains, Yves Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely, and Jacques Villeglé. Their work incorporated consumer objects and new media in response to the postwar period’s painterly modes and its burgeoning consumer and industrial society. However, they did not share a common avant-garde strategy.

The Myth of Nouveau Réalisme is a critical reassessment of this important neo-avant-garde movement. Kaira M. Cabañas offers an interdisciplinary account of their work and challenges the ideas of Restany, who mandated a “direct appropriation of the real.” Cabañas posits that, for the Nouveaux Réalistes, realism engaged performative practices to produce alternative social meanings.
Print publication date March 2013 (in print)
Print ISBN 9780300181203
EISBN 9780300266337
Illustrations 103
Print Status in print
Description: Picturing War in France, 1792–1856
From the walls of the Salon to the pages of weekly newspapers, war imagery was immensely popular in postrevolutionary France. This fascinating book studies representations of contemporary conflict in the first half of the 19th century and explores how these pictures provided citizens with an imaginative stake in wars being waged in their name. As she traces the evolution of images of war from a visual form that had previously been intended for mostly elite audiences to one that was enjoyed by a much broader public over the course of the 19th century, Katie Hornstein carefully considers the influence of emergent technologies and popular media, such as lithography, photography, and panoramas, on both artistic style and public taste. With close readings and reproductions in various media, from monumental battle paintings to popular prints, Picturing War in France, 1792–1856 draws on contemporary art criticism, war reporting, and the burgeoning illustrated press to reveal the crucial role such images played in shaping modern understandings of conflict.
Print publication date February 2018 (in print)
Print ISBN 9780300228267
EISBN 9780300248081
Illustrations 146
Print Status in print
Description: Posing Modernity: The Black Model from Manet and Matisse to Today
This revelatory study investigates how changing modes of representing the black female figure were foundational to the development of modern art. Posing Modernity examines the legacy of Édouard Manet’s Olympia (1863), arguing that this radical painting marked a fitfully evolving shift toward modernist portrayals of the black figure as an active participant in everyday life rather than as an exotic “other.” Denise Murrell explores the little-known interfaces between the avant-gardists of nineteenth-century Paris and the post-abolition community of free black Parisians. She traces the impact of Manet’s reconsideration of the black model into the twentieth century and across the Atlantic, where Henri Matisse visited Harlem jazz clubs and later produced transformative portraits of black dancers as icons of modern beauty. These and other works by the artist are set in dialogue with the urbane “New Negro” portraiture style with which Harlem Renaissance artists including Charles Alston and Laura Wheeler Waring defied racial stereotypes. The book concludes with a look at how Manet’s and Matisse’s depictions influenced Romare Bearden and continue to reverberate in the work of such global contemporary artists as Faith Ringgold, Aimé Mpane, Maud Sulter, and Mickalene Thomas, who draw on art history to explore its multiple voices.

Posing Modernity illuminates long-obscured figures and proposes that a history of modernism cannot be complete until it examines the vital role of the black female muse within it.

*This eBook is available exclusively on the A&AePortal*
Print publication date November 2018 (in print)
Print ISBN 9780300229066
EISBN 9780300257649
Illustrations 178
Print Status in print
Description: The Power of Color: Five Centuries of European Painting
"This book would make an excellent addition to art history curricula, especially those built to expand students’ interest and knowledge into materials and process. . . . The extensive notes and bibliography will provide specialists with avenues for additional and deeper research."—L. L. Kriner, Berea College

This expansive study of color illuminates the substance, context, and meaning of five centuries of European painting. Between the mid-fifteenth and the mid-nineteenth centuries, the materials of painting remained remarkably unchanged, but innovations in their use flourished. Technical discoveries facilitated new visual effects, political conditions prompted innovations, and economic changes shaped artists’ strategies, especially as trade became global.

Marcia Hall explores how Michelangelo radically broke with his contemporaries’ harmonizing use of color in favor of a highly saturated approach; how the robust art market and demand for affordable pictures in seventeenth-century Netherlands helped popularize subtly colored landscape paintings; how politics and color became entangled during the French Revolution; and how modern artists liberated color from representation as their own role transformed from manipulators of pigments to visionaries celebrated for their individual expression. Using insights from recent conservation studies, Hall captivates readers with fascinating details and developments in magnificent examples—from Botticelli and Titian to Van Gogh and Kandinsky—to weave an engaging analysis. Her insistence on the importance of examining technique and material to understand artistic meaning gives readers the tools to look at these paintings with fresh eyes.

*This eBook is available exclusively on the A&AePortal*
Print publication date May 2019 (in print)
Print ISBN 9780300237191
EISBN 9780300259728
Illustrations 212
Print Status in print
Description: Reading the French Garden: Story and History
Alternating discursive accounts with fictional vignettes that recreate time and place, this book skillfully integrates the history of French gardens with the modern history of ideas.
PublisherMIT Press
Print publication date June 1990 (in print)
Print ISBN 9780262121446
EISBN 9780300238839
Illustrations 20 Illus.
Print Status in print
Description: Realism in the Age of Impressionism: Painting and the Politics of Time
The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-François Raffaëlli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young’s highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art.
Print publication date August 2015 (in print)
Print ISBN 9780300208320
EISBN 9780300250954
Illustrations 135
Print Status in print
Description: The Troubled Republic: Visual Culture and Social Debate in France, 1889–1900
Fin-de-siècle France was a period of unrest, with strikes, demonstrations, and anarchist terrorism reflecting deep social and political differences. Yet at the same time, this decade produced a vibrant visual culture—monumental sculpture, mural decoration, avant-garde painting, posters, illustrations, and photography—much of which was used to articulate France’s ideological arguments. This fascinating book shows how four key issues in social debate were treated by contemporary artists.

Richard Thomson begins by exploring disquieting attitudes toward the body and sexuality that resulted from France’s concerns about national decadence after its defeat in the Franco-Prussian War. He then considers how artists depicted crowds and represented public discomfort about mass unrest. Next he discusses religious imagery during a decade when the Catholic Church was attempting to come to terms with Republicanism. And finally he addresses the question of revenge against Germany for the annexation of Alsace-Lorraine, showing that it was kept alive in contemporary art.

*This eBook is available exclusively on the A&AePortal*
Print publication date March 2005 (out of print)
Print ISBN 9780300104653
EISBN 9780300254204
Illustrations 181
Print Status out of print