This is an English-language study on the architecture and art of medieval France of the Romanesque and Gothic periods between 1000-1500. In addition to essays on individual monuments there are general discussions of given periods and specific problems such as: why did Gothic come into being? Whitney Stoddard explores the interrelationship between all forms of medieval ecclesiastical art and characterization of the Gothic cathedral, which he believes to have an almost metaphysical basis.
Open to the public, the homes and studios of eight celebrated nineteenth-century painters Vincent van Gogh, Claude Monet, Gustave Courbet, Eugene Delacroix, Gustave Moreau, Rosa Bonheur, Jean-Francois Millet, and Charles-Francois Daubigny provide intimate insights into their work and personalities as well as pleasurable day-long itineraries in and around Paris. A writer and a photographer, both of whose work appears frequently in Architectural Digest, present sumptuous portraits of these painters lives and times.
Travel information includes discriminating hotel and restaurant recommendations; sites of related interest; excursions to nearby chateaux and medieval fortress towns; directions for travel by car and train; museums in Paris with works by each artist; phone and fax numbers and email addresses for all listings."
Les Ma tres de l'Affiche (The Masters of the Poster) is one of the most prestigious and influential art publications in history. Its 256 color plates have preserved for each succeeding generation a wide- ranging selection of outstanding posters from the turn of the century, when the popular art form had reached its first peak. This Dover edition is the first complete republication of the legendary Ma tres set to devote a full large page to each plate.
Les Ma tres de l'Affiche was issued as separate numbered sheets measuring 11 1/4 x 15 1/2 inches. Every month for 60 months, from December 1895 through November 1900, subscribers received a wrapper containing four consecutively numbered poster reproductions. On 16 occasions, the monthly wrapper also contained a bonus plate, not a poster reproduction but a specially created art lithograph. Jules Ch ret, father of the modern poster, emerged with the lion's share of the plates, 60 of the 240 numbered poster reproductions and 7 of the 16 unnumbered bonus plates. Of the 97 artists represented in Les Ma tres de l'Affiche, some were preeminent painters and printmakers at various stages of their careers: Toulouse-Lautrec, Denis, Bonnard, Vallotton, Puvis de Chavannes. Others were famous illustrators and cartoonists of the period, still well known to art collectors and bibliophiles: Forain, Caran d'Ache, Ibels, Willete, Boutet de Monvel, L andre. But there were also all those whose names say "poster," the conquering pioneers of the new medium: Ch ret himself, Mucha, Steinlen, the Beggarstaffs, Grasset, Penfield, Parrish, Bradley, and Hardy.
This edition reproduces the plates in their original numerical sequence, one to a page, retaining the standardized tan border introduced by the editors of Les Ma tres. The bonus plates, originally unnumbered and issued at various times, have been given the letters A through P and have been placed at the end of the volume. The List of Plates indicates the exact months in which Ma tres subscribersreceived these bonus plates. In order to keep the plate pages uncluttered, the captions on those pages have been limited to plate number (or letter) and the artist's name. The List of Plates also furnishes essential data on the original full-sized posters: their dimensions, the year in which they were first published, city of publication, and specific print shop responsible. A special Dover feature, which is almost certainly a first ever, is a full literal translation of the text of all posters printed in a language other than English. These are all new direct translations from French, German, Italian, Spanish, Dutch, Danish, Czech, and Hungarian.
The French Art Deco style, which encapsulates the complex, modern sensibilities of the early 20th century, is epitomized by the French works exhibited at the Paris 1925 Exposition Internationale des Arts D coratifs et Industriales. The exquisite craftsmanship and artistry of the dazzling works displayed spoke to a sophisticated modernity, yet they were rooted in tradition. Interest in Art Deco has not only endured to the present day, but has grown steadily, and the style is now better known and more collected than ever before.
This informative publication provides an introduction to the historical backdrop for the Art Deco movement and outlines the most salient aspects of the aesthetic. Sumptuous, all-new photography features over one hundred masterpieces, created by forty-five artists, from the Metropolitan Museum of Art's renowned collection. Each chapter focuses on a specific designer, and includes a biography and discussions of the objects, enlivened by generous quotes from contemporary writings. As one of the only English volumes devoted to French Art Deco, this is a significant contribution to the study and appreciation of the style.
This is an introduction to one of the great periods of Western art and provides a clear, dramatic account of the French art world under Louis XIII and Louis XIV. Drawing on research that places the art of the period in its context of religious and philosophical ideas, Christopher Allen provides the means for the reader to judge the meaning, relevance, success or failure of the art of this period.
This richly illustrated panorama of seventeenth-century French painting surveys the works of Poussin, Vouet, Le Sueur, de La Tour, Mignard, and other great and little-known artists. It places this art in relation to literary, political, philosophical, and social developments of the period; considers the foundation of the Royal Academy of Painting in 1648; discusses the influence of Mazarin on artistic developments; explores issues of status, patronage, and connoisseurship; and reexamines the notion of a "French School" of painting, first proposed by the theorist Roger de Piles in 1699.
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
This study examines the forces that made the nude a contentious image in the early Third Republic. Analyzing the evolving relationship between the fine art nude, print culture, and censorship, Heather Dawkins explores how artists, art critics, politicians, bureaucrats, lawyers, and judges evaluated the nude. She reveals how spectatorship of the nude was refracted through the ideals of art, femininity, republican liberty, and public decency. Dawkins also investigates how women reshaped private perception of the nude to accommodate their own experience and subjectivity.
The meaning of a painted portrait and even its subject may be far more complex than expected, Tamar Garb reveals in this book. She charts for the first time the history of French female portraiture from its heyday in the early nineteenth century to its demise in the early twentieth century, showing how these paintings illuminate evolving social attitudes and aesthetic concerns in France over the course of the century.
The author builds the discussion around six canonic works by Ingres, Manet, Cassatt, C zanne, Picasso, and Matisse, beginning with Ingres's idealized portrait of Mme de Sennones and ending with Matisse's elegiac last portrait of his wife. During the hundred years that separate these works, the female portrait went from being the ideal genre for the expression of painting's capacity to describe and embellish "nature," to the prime locus of its refusal to do so. Picasso's Cubism, and specifically Ma Jolie, provides the fulcrum of this shift.