Paintings in the Musee D'Orsay

Paintings in the Musee D'Orsay

by Serge Lemoine

Editorial Reviews

Publishers Weekly
Much of the work is familiar, and the layout is by-the-numbers for a catalogue, but having a world-class museum between two covers trumps almost all other considerations. Since its opening in 1986, Paris's Mus e d'Orsay has been as much about its infrastructure-it was created out of the shell of the Gare d'Orsay, a spectacular Left Bank rail station-as about its collection of major 19th-century masters and masterpieces. Presented in 830 color reproductions, some nearly full 9 5/8" 11 7/8" page-size, the works need not compete with the museum's decor nor fight against the odd and uncongenial galleries fitted within it; thus viewers get a new sense of the collection's range and reach. Sorbonne professor and Mus e d'Orsay director Lemoine divides the collection into six distinct periods, beginning in 1848 ("Ideal or Reality"), and moving through impressionism, history painting, "Construction and Color," pictorialism, symbolism and the many nascent movements "After 1900." Nearly 70 short essays by multiple scholars provide context for works by C zanne, Van Gogh, Seurat, Manet, Monet, Courbet, Renoir and many more, mostly French, artists. No matter how well one thinks one knows them, having them all in one place is a delight. (Jan.) Copyright 2004 Reed Business Information.
Library Journal
This luxuriously illustrated coffee-table book catalogs all the paintings in Paris's Mus e d'Orsay, which contains the world's finest collection of Impressionist and Post-Impressionist art. Lemoine, the museum's director and an experienced art scholar, does an admirable job of updating Robert Rosenblum's 1989 edition. Even more focused than the original volume, with well-written essays interspersed throughout, this update is worth purchasing even by libraries that already own the previous volume because of the beautiful quality of the more than 767 color plates and the subtle reorganization of the paintings into new analytical categories. For example, Pointillism is now addressed in an essay titled "Seurat: Art and Science" under the broader chapter "Construction and Color: After 1880." Lemoine lays out the paintings in chronological order and identifies major themes from each time period. This text is especially strong in linking the rise of Impressionism to the broader economic, social, and institutional systems that existed in 19th-century Europe. Strongly recommended for all libraries.-Katherine C. Adams, Bowdoin Coll. Lib., Brunswick, ME Copyright 2005 Reed Business Information.

Product Details

Abrams, Harry N., Inc.
Publication date:
Edition description:
Product dimensions:
10.00(w) x 11.62(h) x 2.00(d)
Age Range:
13 - 18 Years

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