World of Art Impressionism: Origins, Practice, Reception

Overview

During the 1870s and 1880s, a loose group of French artists, including Pissarro, Monet, and Renoir, adopted a style of painting and subject matter that challenged the art prompted by the Academie Francaise and the Salons where "official" assumptions about the meaning of painting prevailed. What has been called "the revolutionary nature of the Impressionist enterprise" emerged from political radicalism, belief in science and individualism, and a view of art true to modern life and to immediate visual perception. ...
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New York, NY 2000 Softcover New Book Book is New, In Pristine condition. Quantity Available: 1. ISBN: 0500203350. ISBN/EAN: 9780500203354. Inventory No: 1560779217.

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Overview

During the 1870s and 1880s, a loose group of French artists, including Pissarro, Monet, and Renoir, adopted a style of painting and subject matter that challenged the art prompted by the Academie Francaise and the Salons where "official" assumptions about the meaning of painting prevailed. What has been called "the revolutionary nature of the Impressionist enterprise" emerged from political radicalism, belief in science and individualism, and a view of art true to modern life and to immediate visual perception. In all these respects, Impressionism initiated the radical tendencies of modern art. Today the revolutionary aims of Impressionist artists are generally overlooked. Impressionist art has been marketed more successfully than any other style: the price of Impressionist paintings surpasses that of the Old Masters, exhibitions draw blockbuster crowds, and books and mass reproductions are ubiquitous. In her perceptive new survey, Belinda Thomson challenges both sentimentalized and simplistic views of Impressionism. Drawing upon recently discovered documents--critical reviews and letters between artists, writers, and dealers--she illuminates the thinking and the personal lives of the artists themselves, examining the factors and experiences that allowed Impressionism to develop when it did. She investigates the family background of the Impressionists, the importance of the art market and collecting, and the influence of the critical reception to their exhibitions. 250 illustrations, 200 in color.
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Editorial Reviews

KLIATT
These two new titles make welcome additions to the remarkable Thames & Hudson World of Art series. Impressionism: Origins, Practice, Reception employs over 250 illustrations to shed light on the major artists of the Impressionist era, including their personalities, social circumstances, subject matter, and artistic concerns. Also examined are the critical reaction to their exhibitions, their impact on the art market, and their legacy. Drawing on recently discovered reviews and letters as well as current social history, the book uses caricatures, photographs, fashion illustrations, advertising posters, and drawings along with the paintings of Renoir, Manet, Monet, and many others in explaining the significance of the Impressionist movement. A chronology, select bibliography, and index are also included. Prendeville's comprehensive survey of Realism in 20th Century Painting offers a distinctive focus on modern painting, in contrast to the usual focus on the development toward abstraction. In presenting a chronological survey of the work of both well-known and lesser-known 20th-century realist painters, the author uses 200 illustrations—almost half of which are in color—to show how these artists fit into the complex of artistic styles and movements that characterized that century. (It should be noted that several of the illustrations in Prendeville's volume are explicitly sexual in nature.) An extensive, thematically arranged bibliography and index are included as well. Like Impressionism: Origins, Practice, Reception, this book employs a clear and understandable writing style even when addressing complex issues. KLIATT Codes: SA—Recommended for senior high schoolstudents, advanced students, and adults. 2000, Norton/Thames & Hudson, 272p, illus, map, index, 21cm, 99-69985, $16.95. Ages 16 to adult. Reviewer: Rhonda Cooper; Dir., University Art Gallery, Stony Brook, NY, March 2001 (Vol. 35 No. 2)
Library Journal
The stated goal of this work is to "offer some fresh and up-to-date insights into a well-worn field." Thomson (Gauguin, Post-Impressionism) fulfills this objective by reconsidering some common assumptions about the Impressionists' art and by expanding its social and societal aspects. She investigates the financial influences on the group, including its relationship with art dealers and its members' various family histories. The author also considers the Impressionists' choices of subject matter and style in relation to market demands and the influences of their dealers. Thomson also revisits the economic and political situation of late 19th-century Paris, noting, for example, the importance of the contemporary city planning to Impressionist subjects. This book is recommended for any public or academic library that already contains a major chronological work on the Impressionists, such as John Rewald's standard The History of Impressionism (1973. o.p.)--Eric Linderman, East Cleveland P.L., OH Copyright 2000 Cahners Business Information.
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Product Details

  • ISBN-13: 9780500203354
  • Publisher: Thames & Hudson
  • Publication date: 10/15/2000
  • Series: World of Art Series
  • Pages: 288
  • Product dimensions: 5.96 (w) x 8.30 (h) x 0.78 (d)

Meet the Author

Belinda Thomson has published extensively within the fields of Impressionism and Post-Impressionism. She has made a particular study of Paul Gauguin, with whom Van Gogh famously enjoyed a sustained artistic dialogue. Thames & Hudson has published two of her books, Gauguin and Impressionism: Origins, Practice, Reception, both in the World of Art Series.
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