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."
- Investigates the evolution of Modernism in French art c.1800 and 1940- Previously unpublished material, with many of the works being shown for the first time in the UKThe rise of Modernism, from the early nineteenth century to the middle of the twentieth, was played out with particular intensity in France, especially in Paris where international artists were drawn by salons and dealers, the creative exchanges between poets and painters, and the bohemian atmosphere of such places as Montmartre and Montparnasse. This catalogue traces a course from Neo-Classical and Romantic artists like David, Ingres, G ricault and Delacroix, through Impressionists and Post-Impressionists like Degas, Monet and Seurat, to the ground-breaking experiments of Picasso and Braque; but it also shows that there was no straight line leading from tradition to the shock of abstraction. The story is altogether more interesting as academic artists and members of the avant-garde exchanged ideas and as rivalries developed between different schools and powerful characters. In works by Manet, C zanne, Degas, Cassatt, van Gogh, Matisse, L ger and Picasso, this catalogue explores the artists who created Modernism and how they did it. At the heart of the story is a choice group of works by Picasso, Braque and other artists who first experimented with Cubism. Examples include an early study by Picasso for Les Demoiselles d'Avignon of 1906-7, and oil paintings and works on paper produced by artists who exhibited at the first public showing of Cubism, the Salon des Ind pendants of 1911, and other landmark exhibitions, including L ger and important, but now lesser-known figures like Juan Gris, Albert Gleizes, Jean Metzinger and Jacques Villon.
The seventeenth century has always been considered the golden agethe grand siecleof French culture. The reigns of Louis XIII and Louis XIV witnessed an unprecedented flowering of literature and philosophy, of music, architecture, sculpture, and painting. Some of the greatest names in the history of art belong to this period: Nicolas Poussin and Claude Lorraine, as well as Georges de La Tour, the Le Nain brothers, and Charles Le Brun. Yet the subject matter and formal conventions most prized at the time make it difficult for the modern viewer to appreciate their aims, to differentiate them, and to judge success or failure. Thanks to new, sympathetic research, it is now possible to set the major figures within the framework of the concerns and theoretical debates of the seventeenth century itself. Christopher Allen brilliantly enables us to see beyond mere form to the meanings that the artists intended us to enjoy. 180 illustrations, 80 in color.
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
The "point" of Impressionist art was to capture the fleeting moment, the transient effect, the essential reality of a certain place, person, or time. Impressionist artists worked on site with speed and directness, hoping to distinguish their works with a new freshness, immediacy, and truthfulness. Yet the paintings they exhibited were in fact almost always completed in the studio later. This beautifully illustrated book investigates for the first time the impressions, or painted sketches, that were actually done on the spot. Renowned Impressionist scholar Richard R. Brettell focuses on impressions and how they differ from the finished pictures of some of the best-known artists of the Impressionist movement, among them Manet, Monet, Renoir, Sisley, Morisot, Degas, Pissarro, and Caillebotte.
The book surveys the various practices of individual artists in the making, signing, exhibiting, and selling of impressions. Brettell discusses the pictorial theories behind the sketches, the sales strategies for them, and the various forms they took, including works completed in one sitting, "apparent" impressions, and repeated impressions. In a concluding chapter, the author considers a small group of works by Vincent van Gogh, who painted with an almost fanatical rapidity and was the only major post-Impressionist painter to push the aesthetic of the impression even further.
Limoges enamels, named for the town in which they were produced, are one of the most distinctive art forms of the French Renaissance. This stunning handbook--the first book dedicated to Henry Clay Frick's important collection of forty-six Limoges enamels--reflects the jewel-like character of the objects it describes. These colorful, luminous, often personal treasures--plaques, caskets, dishes, ewers--have long been of interest to connoisseurs. Henry Clay Frick purchased John Pierpont Morgan's collection in totality in 1916, adding his name to a centuries-long list of illustrious collectors of the medium.
A fascinating and wide-ranging introduction by Ian Wardropper sets the scene. Entries for each object, illustrated with new photography, and a glossary of terms reveal the intricacies of the collection, which itself constitutes a comprehensive survey of painted enamels at an outstanding level of quality.
A New York lawyer with Virginia roots, T. Catesby Jones acquired an extraordinary collection of paintings, drawings, prints, and sculptures by some sixty artists working in Paris during the early twentieth century. Jones's collection of almost three hundred works, divided between two Virginia institutions after his death, is reunited here in an illustrated catalogue with a full-color checklist accompanied by entries on twenty-four of the artists. Some are the best-known figures of this crucial era (Matisse, Picasso, Braque, Masson, Lipchitz); others are now less familiar (Lurcat, Bauchant, Marcoussis). Considered together, they provide a comprehensive view of modern art in Paris up to World War II and bring Jones's legacy to a wide audience for the first time.
Distributed for the Virginia Museum of Fine Arts