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
Jean Fouquet was France's most important 15th-century artist, painting for the courts of Charles VII and Louis XI. His art synthesized the realistic style of Flemish arts like van Eyck with the monumentality of Florentines like Masaccio. Fouquet's work had a powerful appeal, shaping the next two generations of painters and introducing to the French a taste for Italian art.
The first survey of Fouquet's work in English in nearly sixty years, this captivating book offers a major advance in scholarship about the artist and his far-reaching impact. Erik Inglis links Fouquet's style, iconography, and audience to explain how his art helped define French identity, a project of great importance for anxious courtiers in the wake of the Hundred Years War. Jean Fouquet and the Invention of France provides a new lens for looking at the century that saw the greatest changes in French art prior to Impressionism.
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.
The Paris of the 1860s and 1870s was supposedly a brand-new city, equipped with boulevards, caf s, parks, and suburban pleasure grounds--the birthplace of those habits of commerce and leisure that constitute "modern life." Questioning those who view Impressionism solely in terms of artistic technique, T. J. Clark describes the painting of Manet, Degas, Seurat, and others as an attempt to give form to that modernity and seek out its typical representatives--be they bar-maids, boaters, prostitutes, sightseers, or petits bourgeois lunching on the grass. The central question of The Painting of Modern Life is this: did modern painting as it came into being celebrate the consumer-oriented culture of the Paris of Napoleon III, or open it to critical scrutiny? The revised edition of this classic book includes a new preface by the author.
A fascinating, lavishly illustrated history of the art and architecture of Paris combines more than eight hundred illustrations with detailed descriptions to capture the diverse beauty of Notre Dame's Gothic splendor, the French Impressionist paintings housed at the Musee d'Orsay, the Louvre, palace
This is a remarkable book, which accompanies a traveling exhibition organized by the Musee des Art Decoratifs in Paris, and is comprehensive compendium of the Empire Style in all its glory. Lavishly illustrated with superb photographs, many taken expressly for this book, it will be a landmark in the library of the history of the decorative arts and an essential reference for lovers of wonderful objects everywhere."