Women Impressionists

Overview

The female members of the nineteenth-century Impressionist movement are usually painted out of official art history, although Edouard Manet, for one, testified to the talents of his friends Berthe Morisot (whose "Harbor at Lorient" of 1869 he so admired that she gave it to him) and Eva Gonzalès (the only pupil Manet ever took), and discussed matters of painting with them as readily as with male peers like Edgar Degas. Even Degas himself, notoriously misogynistic, invited Mary Cassatt to exhibit with him (she was ...
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Frankfurt, Germany 2008 Hard cover First edition. New in new dust jacket. In original unopened shrinkwrap. Ship in sturdy box with bubble wrap. Sewn binding. Paper over boards. ... With dust jacket. 319 p. Contains: Illustrations. Audience: General/trade. Read more Show Less

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2008 Hardcover New 3775720790. Flawless copy, brand new, pristine, never opened--Text in English. 320 pp. With 304 ills. (270 col. ). 30 x 25 cm.

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Overview

The female members of the nineteenth-century Impressionist movement are usually painted out of official art history, although Edouard Manet, for one, testified to the talents of his friends Berthe Morisot (whose "Harbor at Lorient" of 1869 he so admired that she gave it to him) and Eva Gonzalès (the only pupil Manet ever took), and discussed matters of painting with them as readily as with male peers like Edgar Degas. Even Degas himself, notoriously misogynistic, invited Mary Cassatt to exhibit with him (she was the only American to do so); and Marie Bracquemond also exhibited at the Impressionist exhibitions of 1879, 1880 and 1886, despite the discouragement of her husband. All of these women practiced and supported Impressionism from its earliest days, when it was still a popular sport to deride it. Nonetheless, for Morisot, Gonzalès, Bracquemond and Cassatt, the chances of equivalent long-term recognition were predictably slim, and while their own individual oeuvres were too strong and too omnipresent in their own time to be entirely eradicated from the annals of art, they have rarely received due attention in the hands of subsequent commentators. This stunning 400-page compendium, published to accompany the important traveling exhibition which goes to San Francisco in the summer of 2008, corrects this longstanding oversight, presenting these pioneering painters alongside each other for the first time, reproducing their oil paintings, pastels, watercolors, drawings and etchings and offering a cogent rebuttal of familiar Impressionist narratives.
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Product Details

  • ISBN-13: 9783775720793
  • Publisher: Hatje Cantz Verlag GmbH & Co KG
  • Publication date: 4/28/2008
  • Pages: 320
  • Product dimensions: 10.00 (w) x 11.50 (h) x 1.30 (d)

Meet the Author

Max Hollein is the director of the Schirn Kunstahalle, Germany, and was the United States Commissioner to the 7th Venice Architecture Biennale.
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Table of Contents

Foreword Max Hollein Hollein, Max 8

Impressionism is Feminine: On the Reception of Morisot, Cassatt, Gonzales, and Bracquemond Ingrid Pfeiffer Pfeiffer, Ingrid 12

Morisot's Wet Nurse: The Construction of Work and Leisure in Impressionist Painting Linda Nochlin Nochlin, Linda 46

"Catching a touch of the ephemeral": Berthe Morisot and Impressionism Sylvie Patry Patry, Sylvie 68

Seven unpublished letters from Mary Cassatt to Berthe Morisot and her daughter, Julie Manet Hugues Wilhelm Wilhelm, Hugues 122

Mary Cassatt: The Touch and the Gaze, or Impressionism for Thinking People Griselda Pollock Pollock, Griselda 154

"So Firm and Powerful a Hand": Mary Cassatt's Techniques and Questions of Gender Pamela A. Ivinski Ivinski, Pamela A. 178

Expressive Red: Eva Gonzales and Henri de Toulouse-Lautrec Marie-Caroline Sainsaulieu Sainsaulieu, Marie-Caroline 206

Marie Bracquemond: The Lady with the Parasol Jean-Paul Bouillon Bouillon, Jean-Paul 232

A Call to Arms: Women Artists' Struggle for Professional Recognition in the Nineteenth-Century Art World Anna Havemann Havemann, Anna 280

Biographies 290

Works in the Exhibition 304

Selected Bibliography 316

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