Frances Fowle
Frances Fowle is Personal Chair of Nineteenth-Century Art, University of Edinburgh, and senior curator, French art, at the National Galleries of Scotland.
Fowle, Frances
Fowle, Frances
United States of America
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Description: Globalizing Impressionism: Reception, Translation, and Transnationalism
This anthology ends with a call to continue globalizing the study of impressionism. Published conference proceedings have the effect of fixing an otherwise ephemeral and fleeting moment in the discipline. By contrast, we intend for the debate around globalizing impressionism, initiated by the 2017 Courtauld Institute of Art conference, to be continuous and open-ended. Since the Courtauld...
PublisherYale University Press
Free
Description: Globalizing Impressionism: Reception, Translation, and Transnationalism
British impressionism, like many of the impressionisms discussed in this volume, comprised a diversity of styles, reflecting the overlapping networks of influence that contributed to the development of avant-garde art in the late nineteenth century. In his pioneering publication British...
PublisherYale University Press
Free
Description: Globalizing Impressionism: Reception, Translation, and Transnationalism
Before World War I, several articles in Britain, the United States, and elsewhere were titled with the question: What is impressionism? W. H. W., “What Is Impressionism?,”...
PublisherYale University Press
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.

This born-digital publication is available exclusively on the A&AePortal.
Author
Alexis Clark (Editor), Frances Fowle (Editor)
Print publication date July 2020 (in print)
EISBN 9780300247756
Illustrations 92
Print Status in print