Innovative, dramatic techniques on full display in works ranging from the controversial Olympia (1863) to the mature brilliance of A Bar at the Folies Bergère (1881).
Widely recognised as the most influential artist of his generation and the leader of the group that become known as the Impressionists, this elegant Parisian from a conventional background, nonetheless expressed startlingly liberal views in such masterpieces as DEJEUNER SUR L'HERBE and OLYMPIA. Despite the furore over these paintings, Manet continued to challenge the Salon with his warmly human models, fascinating compositions and inimitable use of colour. He continually insisted that his art had to be seen 'whole'. In this unique volume, the artist's previously unpublished letters and verbatim records of conversations are combined with almost 240 beautiful colour reproductions of his work. From an early age, Manet revealed his powers of observation and his commitment to radical, progressive views in his letters, which convey the hopes and fears, the activities and amusements, and the successes and disappointments of this most mercurial and influential of artists.
Manet, a founding father of modernism, is one of the towering figures of 19th-century art. In this volume, Carol Armstrong looks closely at Manet's works to uncover a view not only of the artist but also of modernity itself. As she places his art within frameworks of colour, the feminine Other (the Manette in Manet), and consumerism, Armstrong seeks to expand and revise our understanding of this artist as a painter of modern life.
Captivating reproductions of 30 Manet masterpieces, timeless paintings that helped bridge the gap between Realism and Impressionism. Includes meticulously rendered versions of such wondrous works as A Bar at the Folies-Bergère and Argenteuil.
Innovative, dramatic techniques on full display in works ranging from the controversial Olympia (1863) to the mature brilliance of A Bar at the Folies Bergère (1881).
Captivating reproductions of 30 Manet masterpieces, timeless paintings that helped bridge the gap between Realism and Impressionism. Includes meticulously rendered versions of such wondrous works as A Bar at the Folies-Bergère and Argenteuil.
An illustrated guide to the work of Manet. This is one of a series of books featuring the work of famous artists. Other books in the series cover Cezanne, Matisse, Toulouse-Lautrec and Van Gogh.
Jean-Baptiste Carpeaux (1827-1875) was an extraordinarily gifted sculptor, the greatest in 19th-century France before Rodin, and embodied the emotionally charged artistic climate of his era ... Carpeaux's wrenching representations of human forms, shown in beautiful color details and illustrations, echo his turbulent personal life, fraught with episodes of violence and fatal illness. The book covers the entire span of Carpeaux's career, and includes the masterpiece Ugolino and His Sons, newly discovered drawings, and a number of rarely seen or studied works. Previously unpublished letters between Carpeaux and his family and friends, a wealth of archival material, and the most detailed chronology of the artist's life ever published."--Yale University Press website.
Edouard Vuillard (1868-1940), one of the most admired post-impressionist artists, is best-known for his small easel paintings and their charming portrayals of everyday life. However, a major part of his work during his early life was the painting of large decorative panels in the Parisian homes of wealthy private patrons, produced between 1892 and 1912. These panels - some fifty in total - have been little studied, due principally to the inaccessibility of many of them and the impossibility of their being included in exhibitions.
In this brief essay, esteemed medieval historian Edouard Jeauneau examines a much-debated question in medieval intellectual history: did the famous School of Chartres actually exist? Gracefully acknowledging the suggestion by Sir Richard Southern in 1965 that the School was actually a myth, Jeauneau argues that the School did in fact exist but perhaps was not as important as previously thought. Jeauneau provides a fascinating portrait of the School of Chartres during its heyday in the first half of the twelfth century, bringing to light the accomplishments of Fulbert of Chartres, Bernard of Chartres, Thierry of Chartres, Gilbert of Poitiers and William of Conches. Deftly translated by Claude Paul Desmarais, Rethinking the School of Chartres provides a narrative that is critical, passionate, and witty. Sixteen black-and-white images are included. This is the third title in a series called Rethinking the Middle Ages, which is committed to re-examining the Middle Ages, its themes, institutions, people, and events with short studies that will provoke discussion among students and medievalists, and invite them to think about the middle ages in new and unusual ways. The series editor, Paul Edward Dutton, invites suggestions and submissions.
Théodore Rousseau (1812–1867), arguably the most important French landscape artist of the mid-nineteenth century and a leader of the so-called Barbizon School, occupies a crucial moment of transition from the idealizing effects of academic painting to the radically modern vision of the Impressionists. He was an experimental artist who rejected the traditional historical, biblical, or literary subject matter in favor of “unruly nature,” a Romantic naturalism that confounded his contemporaries with its “bizarre” compositional and coloristic innovations. Lavishly illustrated and thoroughly documented, this volume includes five essays by experts in the field. Scott Allan and Édouard Kopp alternately examine Rousseau’s diverse techniques and working procedures as a painter and as a draftsman, as well as his art’s mixed economic and critical fortunes on the art market and at the Salon. Line Clausen Pedersen’s essay focuses on Mont Blanc Seen from La Faucille, Storm Effect, an early touchstone for the artist and a spectacular example of the Romantic sublime in the Ny Carlsberg Glyptotek’s collection. This catalogue accompanies an eponymous exhibition on view at the J. Paul Getty Museum from June 21 to September 11, 2016, and at the Ny Carlsberg Glyptotek from October 13, 2016, to January 8, 2017.
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