The Impressionist Print

Overview

A print can sometimes tell us more than a painting about the history of art. Michel Melot illustrates his thesis in this book, analysing relationships between artists, the art market, the critics, collectors and political institutions. This fresh approach reveals Impressionism not as a sort of miracle, but as a response to economic and social upheaval. This original view of a key movement in the history of art allows the reader to understand its decisive effect on all the subsequent generations who have ...
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Overview

A print can sometimes tell us more than a painting about the history of art. Michel Melot illustrates his thesis in this book, analysing relationships between artists, the art market, the critics, collectors and political institutions. This fresh approach reveals Impressionism not as a sort of miracle, but as a response to economic and social upheaval. This original view of a key movement in the history of art allows the reader to understand its decisive effect on all the subsequent generations who have contributed to maintaining the tradition of the belle epreuve.
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Product Details

  • ISBN-13: 9780300067927
  • Publisher: Yale University Press
  • Publication date: 1/28/1997
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 296
  • Product dimensions: 9.59 (w) x 12.47 (h) x 1.38 (d)

Table of Contents

1 Introduction 8
2 The Impetus of Industry 10
3 The Persistence of the Print 12
4 A Painter between two Worlds: Charles-Francois Daubigny 17
5 Mechanical Reproduction 21
6 1850-2: Delatre and Meryon 25
7 1852-7: Bracquemond, Millet, Legros 29
8 Whistler and Seymour Haden 36
9 Degas's Self Portrait 41
10 1859: The New Art Market 46
11 1861: The Society of Etchers 49
12 Manet and the Etching 52
13 1862: the Artist's Lithograph 59
14 Manet the Lithographer 63
15 1863: the Salon des Refuses 67
16 Jongkind 72
17 Appian and the School of Lyon 77
18 Constantin Guys 82
19 The Eleventh Subscriber 85
20 The Discovery of Japan 90
21 War and Revolution 98
22 1873: the Anvers Group 102
23 The Revival of the Artist's Lithograph 108
24 1874: the first Impressionist Exhibition 113
25 Henri Guerard 118
26 Lepic and the Mobile Etching 123
27 Desboutin and De Nittis 129
28 Felix Buhot and 'La belle epreuve' 134
29 Modern Book-Collecting 139
30 Degas and his Group 145
31 Le Jour et la Nuit 149
32 Pissarro and Degas: Industrial Progress 156
33 The Confection of Rarity 160
34 The Value of the Times 165
35 The Obliteration of the Object 171
36 Scenes from Private Life 177
37 1888: Revival 181
38 Whistler's Venetian Suite 187
39 1883: the Role of the Rebels 189
40 1886: the Last Impressionist Exhibition 192
41 After Impressionism 198
42 1889: the Society of Painter-Printmakers 200
43 Rodin 203
44 Sisley 207
45 Berthe Morisot 210
46 Renoir 215
47 Degas's Women in the Bath 220
48 Mary Cassatt 225
49 The Arrival of Colour 231
50 The Monotypes of Degas 236
51 Other Monotype Artists: Pissarro and Gauguin 240
52 Gauguin and Primitivism 244
53 Van Gogh 248
54 Toulouse-Lautrec 252
55 Pissarro's Bathers 256
56 The Success of the Original Print 260
57 Vollard and the Impressionists 263
58 The Vogue for Colour Lithography 267
59 Forain, the last Impressionist 271
60 Conclusion 274
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