Paul Gauguin achieved a high public profile during his lifetime, and was one of the first artists of his generation to achieve international recognition. But his prominence has always had as much to do with the dramatic events of his life his self-imposed exile on a remote South Sea island, his turbulent relationships with his peers as with the appeal of his art. Belinda Thomson gives a comprehensive and accessible account of the life and work of one of the most original artists of the late nineteenth century. Gauguins work painting, sculpture, prints and ceramics is discussed in the light of his public persona, his relations with his contemporaries, his exhibitions and their critical reception. His private world, beliefs and aspirations are revealed through his extensive cache of journals, letters and other writings. Fully updated throughout, drawing on the insights of thirty years of scholarship since its first edition, Thomsons text remains the best introduction to this controversial and often contradictory artist.
During the 1870s and 1880s, a loose group of French artists, including Pissarro, Monet, and Renoir, adopted a style of painting and subject matter that challenged the art prompted by the Academie Francaise and the Salons where "official" assumptions about the meaning of painting prevailed. What has been called "the revolutionary nature of the Impressionist enterprise" emerged from political radicalism, belief in science and individualism, and a view of art true to modern life and to immediate visual perception. In all these respects, Impressionism initiated the radical tendencies of modern art. Today the revolutionary aims of Impressionist artists are generally overlooked. Impressionist art has been marketed more successfully than any other style: the price of Impressionist paintings surpasses that of the Old Masters, exhibitions draw blockbuster crowds, and books and mass reproductions are ubiquitous. In her perceptive new survey, Belinda Thomson challenges both sentimentalized and simplistic views of Impressionism. Drawing upon recently discovered documents--critical reviews and letters between artists, writers, and dealers--she illuminates the thinking and the personal lives of the artists themselves, examining the factors and experiences that allowed Impressionism to develop when it did. She investigates the family background of the Impressionists, the importance of the art market and collecting, and the influence of the critical reception to their exhibitions. 250 illustrations, 200 in color.
Discusses the works of such artists as Cezanne, Van Gogh, and Gauguin, explains how they differed from the impressionists, and assesses their place in modern art
This book challenges the usual introductions to the study of law. It argues that law is inherently political and reflects the interests of the few even while presenting itself as neutral. It considers law as ideology and as politics, and critically assesses its contribution to the creation and maintenance of a globalized and capitalist world. The clarity of the arguments are admirably suited to provoking discussions of the role of law in our contemporary world. This third edition provides contemporary examples to sustain the arguments in their relevance to the twenty-first century. The book includes an analysis of the common sense of law; the use of anthropological examples to gain external perspectives of our use and understanding of law; a consideration of central legal concepts, such as order, rules, property, dispute resolution, legitimation and the rule of law; an examination of the role of law in women's subordination and finally a critique of the effect of our understanding of law upon the wider world. This book is ideal for undergraduate and postgraduate students reading law.
Catalog of an exhibition held at the Nevada Museum of Art, Reno, November 2, 2013-January 19, 2014; Columbus Museum of Art, Ohio, February 8-May 18, 2014; Foothills Art Center, Golden, Colorado, June 7-August 17, 2014; Art Gallery of Alberta, Edmonton, Canada, September 6-November 16, 2014; Society of the Four Arts, Palm Beach, Florida, December 5, 2014-January 11, 2015; and Crocker Art Museum, Sacramento, California, January 31-April 26, 2015.
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