Inspiring Impressionism explores links between Impressionists and the major European art-historical movements that came before them, demonstrating how often beneath the Impressionists' commitment to capturing contemporary life there lay a deep exploration of the art of the past. Presenting Impressionist works by artists including Manet, Monet, Degas, Bazille, Cassatt, and C zanne alongside those of Raphael, El Greco, Rubens, Vel zquez, and others, the book shows that while the Impressionists moved toward modernity and spontaneity, they remained conscious of and interested in the traditions, techniques, and subject matter of their predecessors.
Essays by leading scholars reveal the ways Impressionists drew inspiration from earlier artists from periods ranging from the Italian Renaissance through the early 19th-century Classical and Romantic traditions. A detailed chronology and fascinating comparisons of landscapes, portraits, nudes, still lifes, and genre paintings provide readers with new opportunities to understand the work of both the Impressionists and Old Masters.
Monet's Water Lilies explores Monet's fascination with the water garden and why it was for him an inexhaustible inspiration for hundreds of studies and paintings. Monet spent his last thirty years attempting to capture on canvas the luminosity and transparency of water lilies. Vivian Russell's superb photographs reflect the quality that Monet sought in his paintings -- the emotional and physical experience of being by the pond. Monet's water lily paintings are shown here juxtaposed with contemporary photography of plants and ponds and archival photos of the painter and his famous garden at Giverny. Russell has photographed many of the varieties Monet ordered for his pond in dramatic close-up to show their extraordinary beauty. Her sensibility as a writer and her expertise as a photographer combine to make Monet's Water Lilies a wonderfully fresh vision of Monet's art.
Shows and describes French paintings that were taken from Germany to Russia at the end of World War II and have not been exhibited since
- Ash Prakash is the pre-eminent authority on Canadian Impressionism, renowned for his collection of Impressionist art- Impressionism in Canada presents the unique history of Impressionist art from its beginning in France to its presence today in Canada and America With this publication a comprehensive study of Impressionism in Canada is available for the first time: from its beginnings in France, via the dissemination of the new style through artists, gallerists, dealers and collectors in North America, and its incorporation into and propagation within a hitherto conservative milieu, to the reception of Canadian Impressionism both nationally and internationally. The study culminates in the concise portrayal of the lives and works of fourteen of the most significant Canadian artists - including William Blair Bruce, Maurice Cullen, J. W. Morrice, Laura Muntz Lyall, Marc-Aurele de Foy Suzor-Cote, Helen McNicoll and Clarence Gagnon - along with several other artists who for some time also employed Impressionist techniques. In this overview not only are the sources of inspiration in French Impressionism presented but also how masterfully and with aplomb these artists found their own artistic form of expression, which has decisively shaped Canadian Impressionist painting today. With a foreword by Guy Wildenstein and an introduction by William H. Gerdts.
Childe Hassam (1859-1935) was the foremost American impressionist of his generation. Prolific in oil paintings and watercolors, he found his native New England to be a touchstone for his art. Hassam had a fascination with Appledore, the largest island of the Isles of Shoals off the coast of Maine and New Hampshire, and he traveled there almost every summer for thirty years.
This fascinating book traces Hassam's artistic exploration of Appledore and reveals a complex portrait of the island created over time. John W. Coffey, working with the marine biologist Hal Weeks, revisits Hassam's painting sites, identifying where, what, and how the artist painted on the island. Kathleen M. Burnside considers the range of the artist's stylistic responses to the island's nature. A photo essay by Alexandra de Steiguer reveals Appledore's enduring beauty.
Inspired by European impressionist paintings of open countryside, private gardens, and urban parks, American artists working in the years between 1887 and 1920 turned their attentions to the new landscapes being created in the fast-changing cities and rapidly emerging suburbs of their own country. Up and down the eastern seaboard, a middle-class idyll was brought to life with the construction of railways, trams, and parkways that connected city centers to commuter suburbs, whose inhabitants increasingly turned to gardening as a leisure--and predominantly female--pursuit. "The two arts of painting and garden design are closely related," landscape architect Beatrix Farrand wrote in 1907, "except that the landscape gardener paints with actual color, line, and perspective to make a composition . . . while the painter has but a flat surface on which to create his illusion."
The Artist's Garden tells the intertwined stories of American art and the new American garden movement in the years on either side of the turn of the twentieth century. Anna O. Marley and her contributors showcase more than one hundred beautifully reproduced artworks by Cecilia Beaux, Mary Cassatt, William Merritt Chase, Childe Hassam, and others alongside the books, journals, and ephemeral artifacts that both shaped and were products of the garden movement. The volume's lavishly illustrated text considers topics that range from environmentalism to new printing technologies, from the genres of garden writing to the distinctions between public and domestic spaces or American and French impressionism.
Employing the interdisciplinary perspectives of horticultural and art history, The Artist's Garden places special emphasis on the mid-Atlantic region as the epicenter of a national garden movement and offers a new look into the impact of impressionism not on American painting alone, but on the nation's culture at large.
Contributors Alan C. Braddock, James Glisson, John Dixon Hunt, Erin Leary, Anna O. Marley, Katie A. Pfohl, Judith B. Tankard, Virginia Grace Tuttle.
Today Berthe Morisot (1841-1895) is considered a major Impressionist artist, a recent development despite the respect received in her lifetime from peers Edgar Degas, douard Manet, Claude Monet, and Pierre-Auguste Renoir. As the only female member of the Impressionist group at its founding in late 1873, Morisot played a major and multifaceted part in the movement, and her works were prized by pioneering dealers and collectors. Lush illustrations from throughout Morisot's career depict her daring experimentations and her embrace of modern subjects in the city and at the seaside: fashionable young women, and intimate, domestic interiors. Texts examine her in the context of her contemporaries, the critical reception of her work, the subjects and settings she chose, and the state of Morisot scholarship. Berthe Morisot, Woman Impressionist makes an important contribution to the field, with never-before-published letters, interdisciplinary scholarship, and a specific focus on Morisot's pioneering developments as a painter first, woman second.
- Approximately 125 masterworks by some 35 artists situate Canadian art within the global phenomenon of Impressionism- A detailed chronology explores the multifaceted ways in which Canadians contributed to the evolution of ImpressionismFollow these Canadian artists as they travel abroad and return home again, over a series of journeys taking place during the last decades of the nineteenth century to the turn of the twentieth. Approximately 130 masterworks by some 35 artists situate Canadian art within the global phenomenon of Impressionism and present a fresh perspective on its reception in the arts of Canada. Adopting a thematic approach, comprehensive essays demonstrate the commitment of these pioneering artists to an innovative interpretation of foreign and familiar surroundings, imbued with an Impressionist vocabulary. A detailed chronology explores the multifaceted ways in which Canadians contributed to the evolution of Impressionism and to the advent of modernity in their homeland. This book accompanies exhibitions at the Kunsthalle der Hypo-Kulturstiftung, Munich (DE), July - November 2019; Fondation de l'Hermitage, Lausanne (CH), January - May 2020; Mus e Fabre, Montpellier (FR), June - September 2020; and the National Gallery of Canada, Ottawa (CA), November 2020 - April 2021.