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.
- 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.
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
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.