World Impressionism: The International Movement, 1860-1920

Overview

As this major contribution to art history shows, Impressionism was far more than a French movement that spread to other countries; rather, it was an approach to art adopted by artists of all nationalities who responded to light and atmospheric conditions, to landscape and cityscape, with an explosion of enthusiasm that was felt around the globe.

517 illustrations, 300 in full color, 424 pages, 10-1/4" x 12-3/4"

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Overview

As this major contribution to art history shows, Impressionism was far more than a French movement that spread to other countries; rather, it was an approach to art adopted by artists of all nationalities who responded to light and atmospheric conditions, to landscape and cityscape, with an explosion of enthusiasm that was felt around the globe.

517 illustrations, 300 in full color, 424 pages, 10-1/4" x 12-3/4"

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
In a much-needed, revelatory survey, impressionism is seen not as a French school but as a major event in the world's visual culture. The luminous palette and spontaneous brushwork of Renoir, Monet et al. inspired or coincided with an individualistic, responsive approach taken by painters from Canada and Latin America to Russia and the Far East. In Britain, the impressionist impulse helped liberate artists from Victorian painting's moralizing norms; in Japan, it fostered a style able to convey the artist's unique personality; in places as diverse as Italy, Finland and Australia, it became linked with nationalist aspirations. Childe Hassam (U.S.), Anders Zorn (Sweden), Ilya Repin and Igor Grabar (Russia) and Joaquin Sorolla (Spain) are among scores of painters profiled in a marvelously illustrated volume that will forever change the way we look at impressionism. Art historian Broude led an international team of scholars in this effort. (Nov.)
Library Journal
Although we have come to think of Impressionism as a French style, it actually was an international movement that appeared in many parts of the world. In some instances it influenced the French style, in others it was inspired by the French artists, while in some countries it seems to have occurred as a spontaneous development of national traditions. In each country, the form that Impressionism took created national variations in style. The essays in this book are written by an impressive array of art historians, each a specialist in the country that is his or her subject: William H. Gerdts on America, Virginia Spate on Australia, Eleanor Tufts on Spain, Allessandra Comini on Scandinavia, Horst Uhr on Austria and Germany, to name a few. This beautiful, monumental, and extremely important book should be in all collections, as it will lead to further reexamination of the significance of Impressionism.-- Lynell A. Morr, John & Mable Ringling Museum of Art Lib., Sarasota, Fla.
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Product Details

  • ISBN-13: 9780810981157
  • Publisher: Abrams, Harry N., Inc.
  • Publication date: 9/1/1994
  • Series: Abradale Bks.
  • Edition description: REPRINT
  • Pages: 424
  • Product dimensions: 10.75 (w) x 13.00 (h) x 1.78 (d)

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