Critical Readings in Impressionism and Post-Impressionism: An Anthology / Edition 1

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Overview

The essays in this wide-ranging, beautifully illustrated volume capture the theoretical range and scholarly rigor of recent criticism that has fundamentally transformed the study of French Impressionist and Post-Impressionist art. Readers are invited to consider the profound issues and penetrating questions that lie beneath this perennially popular body of work as the contributors examine the art world of late nineteenth-century France—including detailed looks at Monet, Manet, Pissarro, Degas, Cézanne, Morisot, Seurat, Van Gogh, and Gauguin. The authors offer fascinating new perspectives, placing the artworks from this period in wider social and historical contexts. They explore these painters' pictorial and market strategies, the critical reception and modern criteria the paintings engendered, and the movement's historic role in the formation of an avant-garde tradition. Their research reflects the wealth of new documents, critical approaches, and scholarly exhibitions that have fundamentally altered our understanding of Impressionism and Post-Impressionism. These essays, several of which have previously been familiar only to scholars, provide instructive models of in-depth critical analysis and of the competing art historical methods that have crucially reshaped the field.

Contributors: Carol Armstrong, T. J. Clark, Stephen F. Eisenman, Tamar Garb, Nicholas Green, Robert L. Herbert, John House, Mary Tompkins Lewis, Michel Melot, Linda Nochlin, Richard Shiff, Debora Silverman, Paul Tucker, Martha Ward

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Product Details

  • ISBN-13: 9780520240100
  • Publisher: University of California Press
  • Publication date: 3/15/2007
  • Series: Ahmanson-Murphy Fine Arts Bks.
  • Edition number: 1
  • Pages: 358
  • Product dimensions: 7.25 (w) x 9.25 (h) x 1.00 (d)

Meet the Author

Mary Tompkins Lewis is Visiting Associate Professor in the Department of Fine Arts at Trinity College, Hartford. She is the author of Cézanne’s Early Imagery (UC Press) and Cézanne.

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Table of Contents


Preface     vii
Introduction: The Critical History of Impressionism: An Overview   Mary Tompkins Lewis     1
Background Studies: Economic Landscapes and Exhibition Strategies
Impressionism, Originality, and Laissez-Faire   Robert L. Herbert     23
Dealing in Temperaments: Economic Transformation of the Artistic Field in France during the Second Half of the Nineteenth Century   Nicholas Green     31
Impressionist Installations and Private Exhibitions   Martha Ward     49
Landscapes of Modernity
Framing the Landscape   John House     77
The Environs of Paris   T.J. Clark     101
The Critical Climate
The Intransigent Artist or How the Impressionists Got Their Name   Stephen F. Eisenman     149
Duranty on Degas: A Theory of Modern Painting   Carol Armstrong     163
Berthe Morisot and the Feminizing of Impressionism   Tamar Garb     191
Impressionism, Politics, and Nationalism
Camille Pissarro in 1880: An Anarchistic Artist in Bourgeois Society   Michel Melot     205
Monet and the Challenges to Impressionism in the 1880s   Paul Tucker     227
Recent Studies in Post-Impressionist Painting
Seurat's Grande Jatte: An Anti-Utopian Allegory   Linda Nochlin     253
At the Threshold of Symbolism: Van Gogh's Sower and Gauguin's: Vision after the Sermon   Debora Silverman     271
Mark, Motif, Materiality: The Cezanne Effect in the Twentieth Century   Richard Skiff     287
Select Bibliography     323
Contributors     331
List of Illustrations     333
Index     337
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