The painting Paris Street, Rainy Day by Gustave Caillebotte (1848-1894) is an icon of Impressionism.This volume presents the work in the context of Caillebotte's innovative artistic work, introducing him as a driving force in the establishment of Impressionism and describing his intensive exchanges with his fellow-artists. With its almost life-sized figures and unconventional perspective, Paris Street, Rainy Day was presented in 1877 at the third Impressionist exhibition and is regarded as one of Caillebotte's principal works. The publication describes his personal interpretation of Impressionism, which convinces with its striking directness and bold image sections, as well as his activities as a patron of art. Caillebotte helped to finance and organize the Impressionist exhibitions and attempted as a collector to establish the works in public collections in a similar manner to that of Hugo von Tschudi with his spectacular purchases for the Nationalgalerie.

A perfect gift for art lovers or anyone interested in Impressionism, this collection of 365 pictures gathers the best of the genre's masterpieces from around the world. Covering a wide range of artists and countries associated with the movement, the book features double-page spreads with an Impressionist painting on one side and a blank page on the other, offering space for notes and reminders of significant events. The vibrant colors and dynamic brush strokes that characterize Impressionist art come fully to life in these beautifully reproduced pictures. Each day readers will encounter renowned works by Renoir, Gauguin, Degas, Cezanne, Monet, and Seurat as well as paintings by lesser- known practitioners such as Lovis Corinth, Childe Hassam, Lesser Ury, Peder Severin Kroyer, and Dame Laura Knight. Perfect for work, home, or studio this beautiful volume will brighten any room and offer inspiration every day.

In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat.

Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.

"Long-awaited, this full-scale revision of Impressionism immediately supersedes all other studies in the field. Herbert rejuvenates even the most famous paintings by seeing them in a dense and flexible context touching on everything from the hierarchy of theater boxes to the role of beer-hall waitresses. His mind and eye are as supple as his lucid prose, and his command of sociological data is staggering. In this classic of art history, both art and history are triumphantly reborn."-Robert Rosenblum, New York University This remarkable book will transform the way we look at Impressionist art. The culmination of twenty years of research by a preeminent scholar in the field, it fundamentally revises the conventional view of the Impressionist movement and shows for the first time how it was fully integrated into the social and cultural life of the times. Robert L. Herbert explores the themes of leisure and entertainment that dominated the great years of Impressionist painting between 1865 and 1885. Cafes, opera houses, dance halls, theaters, racetracks, and vacations by the sea were the central subjects of the majority of these paintings, and Herbert relates these pursuits to the transformation of Paris under the Second Empire. Sumptuously illustrated with many of the most beautiful Impressionist images, both familiar and unfamiliar, this book presents provocative new interpretations of a wide range of famous masterpieces. Artists are seen to be active participants in, as well as objective witnesses to, contemporary life, and there are many profound insights into the social and cultural upheaval of the times. "A social history of Impressionist art that is truly about the art, informed by a penetrating analysis of the ways in which its pictorial structure and qualities communicate its social content. Herbert brings that society to life, but above all he makes some of the most familiar and frequently discussed works in the history of art come wonderfully and vividly to life again."-Theodore Reff, Columbia University Robert L. Herbert is Robert Lehman Professor of the History of Art at Yale University. He is the author or editor of numerous books and articles on nineteenth-century French art.

Pierre-Auguste Renoir's Luncheon of the Boating Party (1880-81) is the jewel of The Phillips Collection. This volume reveals the fascinating characters in the painting and explores Renoir's technique. Eliza Rathbone is chief curator emerita at The Phillips Collection in Washington, DC. Mary Morton is curator and head of the Department of French Paintings at the National Gallery of Art in Washington, DC. Sylvie Patry is deputy director of Collections & Exhibitions and Gund Family Chief Curator at the Barnes Foundation in Philadelphia, PA. Aileen Ribeiro is Professor Emeritus of the University of London. Elizabeth Steele is head of conservation at The Phillips Collection in Washington, DC. Sara Tas is a curator at the Jewish Historical Museum in Amsterdam.

Pierre-Auguste Renoir (1841-1919) stands out among the great artists for his willingness to paint pictures that are straightforwardly pretty and charming: he chooses familiar and sympathetic human types as his subjects, and depicts them with an appealing immediacy, using an attractively bright and rosy palette. Not all of his four thousand or so paintings are equally good; some fall short on formal grounds, and others, not surprisingly, sink into sentimentality. But Renoir's best works are masterpieces, perhaps the most joyous and effervescent ones in the history of art--his great monuments to leisure, "Dancing at the Moulin de la Galette" and "Luncheon of the Boating Party"; his delicate portraits of women and children, like the winsome "Girl with a Watering Can"; and his many frankly sensual nudes.
In this highly readable monograph, noted art historian Anne Distel offers an illuminating new account of the life of the man who created such singularly sparkling works. The author deftly narrates Renoir's rise from apprentice porcelain painter to celebrated artist, quoting judiciously from the painter's own vivid letters and offering keen analyses of his style at each stage of his sixty-year career. And Distel does not consider that career in isolation, but uses the latest discoveries in the documentary evidence--some of them her own--to re-create the artistic and social milieus in which Renoir worked. She traces his relationships with other artists, both his fellow Impressionists and older contemporaries like Corot and Daubigny as well as the younger Bonnard, Matisse, and Picasso; with writers like Zola, Mallarme, and Mirbeau; and, in particular, with the dealers and patrons who were so important to his career, like Paul Durand-Ruel, Ambroise Vollard, the Bernheim brothers, the Charpentiers, the Berards, Charles Ephrussi, and Dr. Barnes.
Distel's authoritative text is illustrated throughout with some three hundred beautiful color reproductions of the artist's finest and most representative works, ensuring that this will be the Renoir monograph of reference for years to come.

There are some collectors who through foresight and dedication have built truly outstanding art collections and shared them widely as part of public museums. Among these were Samuel Courtauld in London and Rasmus Meyer in Bergen. At the heart of each man's collection were single artists who were their greatest passions: for Courtauld it was Paul Cezanne and for Meyer, Edvard Munch. This unique collaboration between KODE art museums in Bergen and The Courtauld in London, celebrates these two remarkable collectors and two great artists by showing masterpieces by Cezanne in Bergen and Munch in London. The Courtauld is home to some of the most important paintings by Cezanne, such as The Card Players and Montagne Sainte-Victoire. "Cezanne. Masterpieces from The Courtauld at KODE Art Museum" is the story about how collectors and artists became aware of Cezanne. This publication not only presents ten key works from The Courtauld along with Cezannes from Norwegian collections, it also brings them together with eye witness accounts from the early years of his profound influence, seen through the lens of the Norwegian art scene around 1900. With essays by Barnaby Wright, Oystein Sjastad and Karen Serres and an introduction by Line Daatland. Forewords by Petter Snare and Ernst Vegelin van Claerbergen.

Michael Doran has gathered texts by contemporaries of Paul Cezanne (1839-1906)--including artists, critics, and writers--that illuminate the influential painter's philosophy of art especially in his late years. The book includes historically important essays by a dozen different authors, including Emile Bernard, Joaquim Gasquet, Maurice Denis, and Ambroise Vollard, along with selections from Cezanne's own letters. In addition to the material included in the original French edition of the book, which has also been published in German, Italian, Spanish, and Japanese, this edition contains an introduction written especially for it by noted Cezanne scholar Richard Shiff. The book closes with Lawrence Gowing's magisterial essay, "The Logic of Organized Sensations," first published in 1977 and long out of print. Cezanne's work, and the thinking that lay behind it, have been of inestimable importance to the artists who followed him. This gathering of writings will be of enormous interest to artists, writers, art historians--indeed to all students of modern art.

Whistler embarked on a new project in the 1880s, working on a small scale in oil, pastel and watercolour, representing new London subjects and painting portraits of new urban types. This book is the first critical study of Whistler and his Impressionist followers and offers an in-depth analysis of Whistler's art as well as new insights into his modernist project. Anna Gruetzner Robins shows how Whistler formed an avant-garde group around himself and sought out followers who included Elizabeth Armstrong Forbes, Mortimer Menpes, Theodore Roussel, Walter Sickert and Sidney Starr to emulate his art and proselytise on his behalf. Their reminiscences and writings provide new information about Whistler's art, while their own little-known work, much of which is published here for the first time, is a testimony to its persuasive effect. Using a wealth of primary material, Robins tracks the history of Whistler and his group and shows through testimony and practice that they were formulating an identity as avant-garde artists. This is the first critical study of these Impressionist artists and throws new light on this neglected aspect of British art.

As one of the Tiny Folio Great Museum series, this book is designed as a tour of the National Gallery's collection of Impressionist and post-Impressionist paintings, drawings, prints and sculpture. Visitors to the National Gallery in Washington usually make straight for the rooms holding the museum's works by the greatest Impressionist artists, including Degas, Renoir, Van Gogh, Gauguin, Cezanne and many others. This miniature compendium includes all the favourites, along with many less-familiar works photographed especially for this volume.

In 1891, Paul Gauguin (1848-1903) traveled to Tahiti in an effort to live simply and to draw inspiration from what he saw as the island's exotic native culture. Although the artist was disappointed by the rapidly westernizing community he encountered, his works from this period nonetheless celebrate the myth of an untainted Tahitian idyll, a myth he continued to perpetuate upon his return to Paris. He created a travel journal entitled Noa Noa (fragrant scent), a largely fictionalized account that recalled his immersion into the spiritual world of the South Seas. To illustrate his text, Gauguin turned for the first time to the woodcut medium, creating a series of ten dark and brooding prints that he intended to publish alongside his journal-a publication that was never realized. The woodcuts crystallized important themes from his work and are the focus of this major new study. Gauguin's Paradise Remembered addresses both the artist's representation of Tahiti in the woodcut medium and the impact these works had on his artistic practice. Through its combined sense of immediacy (in the apparent directness of the printing process) and distance (through the mechanical repetition of motifs), the woodcut offered Gauguin the ideal medium to depict a paradise whose real attraction lay in its remaining always unattainable. With two insightful essays, this book posits that Gauguin's Noa Noa prints allowed him to convey his deeply Symbolist conception of his Tahitian experience while continuing his experiments with reproductive processes and other technical innovations that engaged him at the time. Distributed for the Princeton University Art Museum Exhibition Schedule: Princeton University Art Museum(09/25/10-01/02/11)

For the first time, this book explores a new aspect of Monet's work: his fascination, during the 1870s, with bridges. French painter Claude Monet (1840-1926) is one of the most popular artists of all time. His paintings of water lilies, haystacks, cathedrals, and much more are all celebrated and beloved. For the first time, this book explores a new aspect of Monet's work: his fascination, during the 1870s, with bridges. After moving to Argenteuil, a small town on the outskirts of Paris, Monet was drawn to the local footbridge near his house on the banks of the Seine. His painting of it, The Wooden Bridge, 1872, is a composition of startling modernity. The book begins with this work and explores Monet's use of the bridge motif from 1872 to 1877 in the aftermath of the Franco-Prussian war and beyond. Beautifully illustrated and published to accompany a major exhibition, the book explores how Monet sought to establish himself as a leader of the avant-garde and how his paintings of bridges played a pivotal role in this context. Focusing on twelve major paintings by Monet, the catalogue further examines the Impressionists' response to their ever-changing environment and the late nineteenth-century transformation of Paris and its suburbs. The publication consists of three sections featuring three essays followed by an illustrated chronology: Monet's use of the bridge as a testing ground for his innovative ideas, the role of photography, illustrations, and contemporary influences; the expansion of Paris and the urban cityscape; the role of Impressionism in the context of the Franco-Prussian war. Text in English and French.

Several decades have now passed since postcolonial and feminist critiques presented the art-historical world with a demythologized Paul Gauguin (1848-1903), a much-diminished image of the artist/hero who had once been universally admired as "the father of modernist primitivism." In this volume, both long-established and more recent Gauguin scholars offer a provocative picture of the evolution of Gauguin scholarship in the recent postmodern era, as they confront and consider how the dismantling of the longstanding Gauguin myth positions us now in the 21st century to deal with and assess the life, work, and legacy of this still perennially popular artist. To reassess the challenges that Gauguin faced in his own day as well as those that he continues to present to current and future scholarship, they explore the multiple contexts that influenced Gauguin's thought and behavior as well as his art and incorporate a variety of interdisciplinary approaches, from anthropology, philosophy, and the history of science to gender studies and the study of Pacific cultural history. Dealing with a wide range of Gauguin's production, they challenge conventional art-historical thinking, highlight transnational perspectives, and offer clues to the direction of future scholarship, as audiences worldwide seek to make multicultural peace with Gauguin and his art. Broude has raised the bar of Gauguin scholarship ever higher in this groundbreaking volume, which will be necessary reading for students and scholars of art history, late 19th-century French and Pacific culture, gender studies, and beyond.

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Vincent van Gogh's 'Bedroom at Arles'. Vincent van Gogh sought refuge from Paris in February 1888. He set off for Arles to satisfy his yearning to experience the colours of the South. Initially, he took up lodgings at a local hotel but shortly after, he rented the famous Yellow House on Place Lamartine, nestled in between the rail tracks and river on the north side of town. This famous painting depicts his bedroom in the house.

Henri Rousseau (1844-1910) was a clerk in the Paris customs service who dreamed of becoming a famous artist. At the age 49, he decided to give it a try. At first, Rousseau's bright, bold paintings of jungles and exotic flora and fauna were dismissed as childish and simplistic, but his unique and tenacious style soon won acclaim. After 1886, he exhibited regularly at Paris's prestigious Salon des Independants, and in 1908 he received a legendary banquet of honor, hosted by Picasso. Although best known for his tropical scenes, Rousseau, in fact, never left France, relying on books and magazines for inspiration, as well as trips to natural history museums and anecdotes from returning military acquaintances. Working in oil on canvas, he tended toward a vibrant palette, vivid rendering, as well as a certain lush, languid sensuality as seen in the nude in the jungle composition The Dream. Today, "Rousseau's myth" is well established in art history, garnering comparison with such other post-Impressionist masters as Cezanne, Matisse, and Gauguin. In this dependable TASCHEN introduction, we explore the makings of this late-blooming artist and his legacy as an unlikely hero of modernism. "Nothing makes me so happy as to observe nature and to paint what I see." - Henri Rousseau

No pictorial device in nineteenth-century French painting more clearly represented the free-ranging self than the loose brushstroke. From the romantics through the impressionists and post-impressionists, the brushstroke bespoke autonomous artistic individuality and freedom from convention. Yet the question of how much we can credit to the individual brushstroke is complicated-and in Brushstroke and Emergence, James D. Herbert uses that question as a starting point for an extended essay that draws on philosophy of mind, the science of emergence, and art history. Brushstrokes, he reminds us, are as much creatures of habit and embodied experience as they are of intent. When they gather in great numbers they take on a life of their own, out of which emerge complexity and meaning. Analyzing ten paintings by Courbet, Manet, Cezanne, Monet, Seurat, and Picasso, Herbert exposes vital relationships between intention and habit, the singular and the complex. In doing so, he uncovers a space worthy of historical and aesthetic analysis between the brushstroke and the self.

A century after the death of Paul Gauguin, our knowledge of his life and work has made huge strides.
The present work covers the youth and early maturity of this pioneering artist and attempts a summation. It also offers a complete catalogue of the paintings, in the process thoroughly updating the original Wildenstein catalogue of 1964. These first two volumes take the reader through to the end of 1888, a year of profound upheavel in French painting. That was the year in which Gauguin and his friends, by a collaborative effort, arrived at Synthetism and, by rejecting representation in depth, freed Western painting of laws that had governed it since the Renaissance.
But Synthetism was also a form of primitivism. The society in which Gauguin lived was--already--a technical and materialist one, which contained the seeds of all that the 20th century became. Gauguin was one of the first to seek, in reaction to this civilization, a form of inspiration deriving from the timeless origins of humanity.
Although these two volumes are the product of rigorous research, they are studded with illustrations and are by no means intended for specialists alone. Commentary on each work offers a step-by-step analysis of Gauguin's artistic development, while reconstructing the artist's experience and the aesthetic and socio-cultural issues of his times.
The lively detail of the chronology describes the events of Gauguin's life, along with those of his friends; thanks to extensive research in unpublished archives, it also casts completely new light on Gauguin's ancestry.
The introduction offers an analysis of the period and an in-depth portrait of this great artist.
This exhaustivework is carefully designed so that each entry and insert can be read in isolation, though a system of cross-referencing ensures the continuity of the work and restores the overall trajectory of Gauguin's development.

A unique and intimate look into Claude Monet's outstanding personal collection of paintings, drawings, and sculptures by fellow artists Claude Monet (1840-1926) was the founder of French Impressionism and remains one of the world's best-known and most beloved painters. His works are on view in many of the finest museums, and details of his storied life are well documented. Less well known are Monet's activities as an art collector; Monet as Collector is a sumptuously illustrated volume that traces this history, and in the process reconstitutes the artist's private collection. The masterpieces he assembled throughout his life form an outstanding, unique ensemble, one that has never before been analyzed in its entirety. The collection includes paintings, drawings, and sculptures by such artists as Delacroix, Corot, Boudin, Jongkind, Manet, Renoir, Caillebotte, Cezanne, Morisot, Pissarro, Rodin, and Signac, and offers a new kind of insight into the artistic tastes and vision of this legendary artist. Distributed for Editions Hazan, Paris Exhibition Schedule: Musee Marmottan Monet (09/14/17-01/14/18)

Stretching from Paris to Le Havre, the Seine river and the valley flanking it afford some of France's loveliest views. The ports, holiday homes and artists' houses, the boats, the washerwomen, the windmills, the open-air cafes, the picnics and the bathing supplied French painting with some of its most iconic images, particularly during the Impressionist era, when painting stepped out of the studio and into the world. It was in this period, as the industrial revolution began to get underway and the landscape began to alter accordingly, through the development of railways, ports and factories, that the rural world it threatened became an increasingly popular subject for painting. This volume brings together 60 paintings painted on the banks of the Seine, retracing the history of Impressionism and Post-Impressionism to Fauvism, from Eugene Boudin to Henri Matisse. En route we encounter such familiar figures as Manet, Renoir, Monet, Pissarro, Sisley and Caillebotte, but also lesser-known figures such as Armand Guillaumin, Henri Rouart and Maximilien Luce.