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Books > Arts & Architecture > History of art / art & design styles > 1800 to 1900 > Post-Impressionism
This is a concise and engaging, yet detailed and informative
monograph that explores Gauguin's most Important works. Paul
Gauguin (1848-1903) was one of the most important artists of the
late 19th century, and one whose work was to have a profound
influence on the development of art in the 20th century. He began
as an Impressionist, but went on to develop a richly-coloured style
in his constant search for pristine originality and unadulterated
nature. This concise monograph collects the most important works by
Gauguin, not only of his best known paintings of Tahiti in which
the artist attempted to reconstruct the perfect life which he had
failed to find in reality, but also of many powerful works that
reflect the artist's contact with other seminal early modern
masters like Van Gogh or Cezanne.
The myth of Van Gogh today is linked as much to his extraordinary
life as it is to his stunning paintings. His biography has often
shaped the way that his self-portraits have been (mis)understood.
Van Gogh. Self-Portraits reconsiders this aspect of his production
and places the artist's self-representation in context to reveal
the role it plays in his oeuvre. It also explores the power and
profound emotion of these highly personal paintings. Van Gogh.
Self-Portraits is the first time this theme has been exclusively
addressed. Self-portraits painted during Van Gogh's time in Paris
(February 1886 - February 1888) have been the subject of two
exhibitions (in 1960 at Marlborough Fine Arts in London and in 1995
at the Kunsthalle in Hamburg) but never has the full chronological
range been explored. The exhibition at The Courtauld Gallery, which
this volume accompanies, features paintings from both the Parisian
and Provencal periods. It brings together half of Van Gogh's
thirty-five known self-portraits to examine the ways the artist
approached this particular subject-matter. On a practical level,
painting himself provided Van Gogh with the cheapest and most
patient of models and represented an important conduit for
stylistic experimentation. He also used self-portraiture as an
homage to his illustrious Dutch predecessor Rembrandt, as well as a
way of fashioning his own identity and presenting himself to the
outside world. Of particular interest is the striking way the
evolution of Van Gogh's self-representation over the short years of
his artistic activity can be seen as a microcosm of his development
as a painter. In addition to the world-famous Self-Portrait with
Bandaged Ear in The Courtauld's collection, the exhibition
showcases a group of major masterpieces brought together from
international collections, including the Van Gogh Museum in
Amsterdam, the Muse d'Orsay in Paris, the Art Institute of Chicago
and the National Gallery of Art in Washington, D.C., among others.
This beautifully illustrated catalogue includes detailed entries on
each work, an appendix illustrating all of Van Gogh's
self-portraits and three insightful essays on the theme.
Rilke's prayerful responses to the french master's beseeching art
For a long time nothing, and then suddenly one has the right eyes.
Virtually every day in the fall of 1907, Rainer Maria Rilke returned to a Paris gallery to view a Cezanne exhibition. Nearly as frequently, he wrote dense and joyful letters to his wife, Clara Westhoff, expressing his dismay before the paintings and his ensuing revelations about art and life.
Rilke was knowledgeable about art and had even published monographs, including a famous study of Rodin that inspired his New Poems. But Cezanne's impact on him could not be conveyed in a traditional essay. Rilke's sense of kinship with Cezanne provides a powerful and prescient undercurrent in these letters -- passages from them appear verbatim in Rilke's great modernist novel, The Notebooks of Malte Laurids Brigge. Letters on Cezanne is a collection of meaningfully private responses to a radically new art.
Vincent van Gogh is best known for two things - his sunflowers and
his ear-cutting. But there are many other ways of knowing this
remarkable son of a Dutch pastor, who left his chill homeland for
the sunshine of Arles in the South of France; and left us over a
thousand frank letters of struggle and joy, to help us glimpse his
inner world. Vincent came late to painting after spending time in
London trying to be a Christian missionary. And though he is now
amongst the most famous artists on earth, in his day, no one saw
him coming - apart from one French art critic called Aurier. It is
possible he never sold one of his paintings in his life time. When
he discovered the sun in Arles, he also discovered energy. Yellow
for him was the colour of hope, and in his last two years he
painted almost a canvass a day. But hope ran out on July 27th ,
1890 when he shot himself, aged 37. He was at this time six months
out of a mental institution, where perhaps he experienced his
greatest calm. Vincent compared himself to a stunted plant; damaged
by the emotional frost of his childhood. 'Conversations with Van
Gogh' is an imagined conversation with this remarkable figure. But
while the conversation is imagined, Van Gogh's words are not; they
are all authentically his. "Speaking with Vincent - which he
insists on being called - was a privilege,' says Simon Parke. 'He's
endlessly fascinating, contradictory, moving, funny, insightful and
tragic. There's a fury in him; but also a great kindness. He found
harmony in human relationships elusive; his love life was a painful
shambles. But with colour, he was a harmonic genius, and he has
much to say about this. And here's the thing: for a man who killed
himself - he died in the arms of his brother on July 29th -
spending time with him was never anything but life-affirming.'
Celebrate the holidays with Christmas Carolers Square Boxed 1000
Piece Puzzle from Galison. Piece together to reveal a classic scene
of friends and family charoling in the snow by Louise Cunningham. -
Assembled puzzle size: 20 x 27'' - Box: 8 x 8 x 2.5'' - Contains
informational insert about artist and image
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Noa Noa
(Paperback)
Paul Gauguin; Edited by Jonathan Griffin
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R296
R255
Discovery Miles 2 550
Save R41 (14%)
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Gauguin's great diary from Tahiti almost never saw the light of day
in its original form. The manuscript was sent by the artist from
his island refuge to his friend Charles Morice in Paris, and
published in 1901 with immediate success, under the two names of
Paul Gauguin and Charles Morice. Morice, with Gauguin's permission,
had 'edited' and enlarged it to make it more readable. How much of
the charm and crispness of the manuscript had been lost in the
process was anyone's guess. It was to be 40 years before Gauguin's
original version came to light, and it is published here in a
translation by the poet Jonathan Griffin, together with a detailed
description by the art historian Jean Loize, who re-discovered the
manuscript. Loize shows that Morice had in parts altered Gauguin's
text beyond recognition - a startling discovery that entirely
changed ideas about Gauguin's style and intentions. This genuine
version of Noa-Noa is not only an important document, it is also a
beautiful piece of writing: amusing, acid, wide-eyed, moving.
Gauguin feared that, unedited, it would seem absurdly crude; and no
doubt it would have, to most readers in his day. Today we can
appreciate its sketch form, jerky directness, authentic freshness.
This edition is illustrated with the watercolours, wood-engravings
and drawings that Gauguin assembled for the book.
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 Van Gogh's Cafe Terrace.
The elegant Matisse retrospective at New York's Museum of Modern
Art in the fall of 1992 was the first king-sized retrospective of
Matisse's work anywhere in the world for more than twenty years.
Appropriately labelled "the most beautiful show in the world," this
giant new look at Matisse and his pursuit of pleasure was a
consummate success. Henri Matisse: A Bio-Bibliography provides the
scholar, student, artist, and layperson with an extended primary
and secondary bibliography with which to study and enjoy this great
artist. These works cover his life, career, oeuvre, and influence
on other artists. Though many of the entries are annotated, this is
not meant to be a critical guide; rather, it is a way to get to
know a great artist through the literature surrounding him and his
art.
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 'Starry Night'. Regarded as one
of Van Gogh's finest works The Starry Night was painted during his
stay at the asylum of Saint-Paul-de-Mausole following a mental
breakdown. Based on the view from his window at the asylum as well
as his imagination this incredible painting is one of the most
recognized in the world.
Degas was a celebrity in Britain in his lifetime, thanks originally
to George Moore's pioneering essay, The Painter of Modern Life.
When Degas died Moore reprised the essay with some further
recollections, in part as a riposte to the memoir published by
Degas's great admirer and follower, Walter Sickert. Sickert's
essay, sparkling, engaged, witty and occasionally combative, is
amongst the best of his writings. Together these memoirs represent
some of the most vivid responses to Impressionism in English - as
well as painting an intimate picture of arguably the most important
and most influential - and the most humane - of the painters of the
later 19th century. Hitherto difficult to find, these essays are
reprinted here with an introduction by Anna Gruetzner Robins and
are illustrated with 30 pages of colour plates covering the span of
Degas's dazzling career.
This third volume traces the hidden patterns and interlocking themes in the study of art from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation and reception of art that have set the history of art theory on a vertiginous new course.
Impressionists and Politics is an accessible introduction to the current debates about Impressionism. Was the artistic movement really radical and innovative? Is the term "Impressionism" itself an adequate characterization of the movement of painters and critics that took the mid-nineteenth century Paris art world by storm? By providing an historical background and context, the book places the Impressionists' roots in wider social and economic transformations and explains its militancy, both aesthetic and political. Impressionists and Politics is a concise history of the movement, from its youthful inception in the 1860s, through to its final years of recognition and then crisis.
This review considers the major Cezanne exhibition at the Tate
Gallery London, staged from 8th February until 28th April 1996.
Rather than focusing exclusively on the artist's work, the piece
attempts to place the exhibition in context, exploring the
institutional arena of presentation and the social and economic
strata to which the retrospective is mainly addressed. To encompass
these multiple levels of attention, the essay is based on a journey
through the exhibition, seen at the press view on Tuesday 6th
February 1996. The record is intentionally discursive, entwining
impressions both of the works and the audience, groups of media
professionals moving from room to room in sequence around the show.
Further attention is given to the formulation of the catalogue, to
gain a reasonably complete picture of the event.
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 Monet's Waterlilies
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