Cliff Edwards, a well-known Vincent van Gogh author and scholar, explores Van Gogh's second gift--the surprising written works of Van Gogh in letters to his brother, fellow artists, and friends. Edwards illuminates Van Gogh's vision and creative process for readers as a way of living and creating more deeply. Van Gogh's Second Gift gives us another side of Van Gogh, whose poetic, creative, and original mind opened up startling insights on the creative process. A perfect book for creatives and those who want to understand more about one of the world's most beloved artists, the genius creator of works like Starry Night. Focusing on more than 40 letter excerpts, Edwards offers clear background and insights into Van Gogh's life and creative ideas, as well as suggestions for reflection and personal engagement. Van Gogh sketches are scattered throughout the book.

During the 1860s, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley joined forces to revolutionize art with light- flooded landscapes that dispensed with the conventional imagery of the time. In 1874, with their penchant for working out of doors in order to capture fleeting sensory impressions directly on the canvas, they came to be known as the "Impressionists." Berthe Morisot, Paul Cezanne, and Gustave Caillebotte became affiliated with the new tendency as well. More than a decade later, artists such as Paul Signac and Henri-Edmond Cross developed their pioneering ideas further, and in 1901, during his first year in Paris, the young Pablo Picasso too drew inspiration from the Impressionist style. No comparable collection provides such a comprehensive overview of Impressionist landscape painting and its development as the one assembled in recent decades by Hasso Plattner, founder of the Museum Barberini. On its basis, Ortrud Westheider, the director of the Museum Barberini, presents the history of French Impressionism. With its focus on the transitory moment, the artistry of the Impressionists continues to exert a powerful fascination. Guided by the interplay between light and atmosphere, they created exquisite and timeless images whose innovative spirit and vitality continue to delight viewers today.

In the late 19th century, numerous Russian artists found inspiration in the style of French Impressionist painters. Often, a journey to Paris acted as a catalyst for their burgeoning interest in the movement. They developed a preference for working en plein air and aimed to capture transitory effects through a spontaneous and free handling of the brush. Many leading painters of the later Russian avant-garde arrived at their individual styles due to studying the Impressionist use of light. This lavishly illustrated volume explores the many-layered ways French Impressionism influenced the evolution of Russian art from the 1880s to the 1920s, including the work of painters as diverse as Ilya Repin, Valentin Serov, Konstantin Korovin, Natalia Goncharova, and Kazimir Malevich. Essays by many of the leading scholars in the field provide rich new insights into one of the most intriguing chapters of Russian modernism.

From humble beginnings in Nuenen and Antwerp to his last month in Auvers-sur-Oise, this captivating book on Vincent Van Gogh's life and works is the perfect introduction for all students and art lovers interested in late nineteenth-century and Post-Impressionist art. Featuring fifty of his finest works, each painting and drawing is described and analyzed in beautiful detail, within the context of the period, so that the reader can really understand what the artist was hoping to achieve with each work. Drawing from the many letters that Van Gogh wrote to his brother, friends and others, curator John Cauman provides an enthralling and accessible narrative about the artist and his work, introducing the milieu, key characters and themes and legacy that continues to this day. Among the fifty paintings featured, this book includes The Potato Eaters (1885), Pere Tanguy (1887), Self-Portrait in Front of the Easel (1888), Sunflowers (1888), Cafe Terrace at Night (1888), Bedroom in Arles (1888), Van Gogh's Chair (1888), Portrait of Joseph Roulin (1889), Irises (1889), The Starry Night (1889) and Wheatfield with Crows (1890).

Decouvrez comment des scenes de la vie quotidienne et de delicates touches de couleur ont choque le monde etabli de l'art. Cette introduction de la Petite Collection 2.0 de TASCHEN a l'impressionnisme presente les artistes, les sujets et les techniques qui ont fait sortir les chevalets des ateliers et pousse les artistes a abandonner l'histoire, la religion et le portrait pour saisir le flux et le reflux evanescents de la vie moderne. Cette balade dans les theatres, les cafes et les squares de Paris et de ses environs revele leurs innovations radicales dans le style et les sujets, du principe de la peinture "en plein air" aux coups de pinceau rapides et saccades grace auxquels les impressionnistes mettaient en valeur la spontaneite, le mouvement et les qualites changeantes de la lumiere. On regarde d'un oeil nouveau leurs perspectives non conventionnelles et leur palette de couleurs pures et sans melange, des teintes souvent vives qui eclairent la toile d'une toute nouvelle intensite chromatique. En chemin, on croise les grandes figures de l'impressionnisme comme Edgar Degas, Claude Monet, Berthe Morisot et Camille Pissarro, ainsi que des artistes plus confidentiels qui meritent un reel interet, parmi lesquels Marie Bracquemond, Medardo Rosso et Fritz von Uhde. A propos de la collection Chaque volume de la Basic Art History de TASCHEN contient: une introduction illustree detaillee une selection des plus grandes oeuvres de l'epoque presentees sur une double page avec une reproduction pleine page, une interpretation de l'oeuvre, un portrait et une biographie synthetique de l'artiste une centaine d'illustrations couleur accompagnees de legendes explicatives

<div>Steven Z. Levine provides a new understanding of the life and work of Claude Monet and the myth of the modern artist. Levine analyzes the extensive critical reception of Monet and the artist's own prolific writings in the context of the story of Narcissus, popular in late nineteenth-century France. Through a careful blending of psychoanalytical theory and historical study, Levine identifies narcissism and obsession as driving forces in Monet's art and demonstrates how we derive meaning from the accumulated verbal responses to an artist's work.</div>

It is often forgotten just how provocative Impressionist canvases seemed when they were first exhibited in 1874. The advocates of the new style rejected the established principles of art prevalent at that time in France.

This book traces Impressionism’s origins to its spread to America and Australia. Ralph Skea shows how Impressionist artists transformed everyday subject matter. Daringly using colour and rapid brushstrokes, the Impressionists worked out of doors, creating paintings that captured the transient effects of light and feeling. Impressionism’s initial shock factor gradually gave way to widespread acceptance, but only now can we appreciate how profound its influence has been on modern art.

"Art is not what you see, but what you make others see." Edgar Degas Covering every era and over 650 artists, this comprehensive, illustrated guide offers an accessible yet expansive view of art history, featuring everything from iconic works and lesser-known gems to techniques and themes. Offering a comprehensive overview of Western artists, themes, paintings, techniques, and stories, Art: A Visual History is packed full of large, full-colour images of iconic works and lesser-known gems. Exploring every era, from 30,000BCE to the present, it includes features on the major schools and movements, as well as close-up critical appraisals of 22 masterpieces - from Botticelli's Primavera to J. M. W. Turner's The Fighting Temeraire. With detailed referencing, crisp reproductions and a fresh design, this beautiful book is a must-have for anyone with an interest in art history - from first-time gallery goers to knowledgeable art enthusiasts. What makes great art? Discover the answer now, with Art: A Visual History.

This enthralling and comprehensive new book on Henri Matisse is an eye-opener for all students and art lovers interested in early twentieth-century art. Taking fifty of Matisse's most iconic works of art, John Cauman provides an accessible narrative about the man and his work, deciphering the themes, methods and intentions of this truly great artist. Chronologically spanning from the late nineteenth century to the mid 1950s, each painting, drawing and mural is described and analysed in beautiful detail, within the context of the period, so that the reader can really understand what the artist was hoping to achieve with each work. The paintings are prefaced by an informative introduction that presents the milieu and key characters that featured in Matisse's life. Among his most famous works, this book includes Luxe, calme et volupte (1904), Le Bonheur de vivre (The Joy of Life) (1905-6), Self-Portrait in a Striped Shirt (1906), Blue Nude (Memory of Biskra) (1907), Bathers by a River (1909-17), Harmony in Red (1908), Dance I (1909), Entrance to the Casbah (1912-13), Pianist and Checker Players (1924), Still Life with a Magnolia (1941), Memory of Oceania (1951-2) and The Snail (1953).

This innovative and compelling study reconsiders Whistler's work from the context of his military service and his relationship with 'nature at the margins'. Whistler came from a family of soldiers and engineers; his father, Major George Washington Whistler, was originally a US military engineer. Drawing and mapmaking were important components of the military training that Whistler acquired as an offi cer cadet at West Point Academy in 1851-4 and subsequently in the Drawing Department at the US Coast and Geodetic Survey, where he attempted to realise his father's hopes that he would make engineering or architecture his profession. These infl uences in turn shaped Whistler's attitude towards nature, as expressed in works ranging from his celebrated London 'Nocturnes' to his French coastal scenes - all of which were created after Whistler moved permanently to Europe in 1855. Whistler's close observation of nature and its moods underpinned his powerful and haunting visions of nineteenth-century life. His images explore the contrasts between the natural and man-made worlds: rivers and wharves, gardens and courtyards, the ideal and the naturalistic. And his singular vison was always defi ned by his enduring affi nity with the makers of railways, bridges and ships, the cornerstones of Victorian wealth and trade. Infl uenced by Rembrandt, Whistler's early etchings of London are notable for their focus on line and topographical accuracy. From the 1860s, his enthusiasm for Japanese art, too, infl uenced his attitude to perspective and spatial relations between objects. This led him, in his London Nocturnes, to reduce the external world before him to its bare bones. Whistler's smoky images of warehouses, bridges, harbours and tall ships were designed to showcase a new kind of productive, wealth-generating landscape. It is a view of nature constrained by man-made structures: the shadowy outline of the warehouses and chimneys on the far shore; the mast and rigging of a Thames barge in the middle distance. This absorbing book reassesses a familiar and notoriously colourful artistic fi gure in a fascinating and pertinent new light, and is an important new contribution to our understanding of the Victorian art world and its physical context.

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.

In this magisterial book, Henri Dorra synthesizes more than fifty years of study to present a comprehensive examination of Paul Gauguin's symbolism. Drawing on his profound grasp of the artistic and social contexts in which Gauguin worked, Dorra provides new, complex insights into and interpretations of Gauguin's multilayered symbolism. "The Symbolism of Paul Gauguin" is lavishly illustrated with a major visual compendium of the artist's prodigious output. The highly readable narrative, based on a sophisticated understanding of Gauguin's oeuvre, offers a masterly interpretation of recurrent images and their interrelationships in the contemporaneous artistic and social context. Dorra discusses Gauguin's iconography and the artist's treatments of similar themes in various media, from prepatory drawings for paintings to related ceramics and wood carvings. He traces Gauguin's meanings in literary sources from classical mythology and the Bible to late ninetheenth-century literature. He also links the form and content of the artist's work to his unusual ancestry and upbringing. As the final scholarly work by an internationally recognized expert on nineteenth-century French symbolism, this book provides a profound new perspective on Gauguin and his work.

Vincent van Gogh used art to express his intensely emotional response to the world around him. Enraptured by the beauty of nature and tormented by the sorrows of human existence, he produced in his tragically short life some of the most powerfully expressive paintings ever seen. Many have made the mistake of thinking him mad, and he did suffer throughout his life periods of mental anguish. But Van Gogh's paintings are not the works of a madman. Van Gogh famously sold only one painting during his life, but within a few years of his death he was recognized as one of the greatest modern painters.

Impressionism captured the world's imagination in the late nineteenth century and remains with us today. Portraying the dynamic effects of modernity, impressionist artists revolutionized the arts and the wider culture. Impressionism transformed the very pattern of reality, introducing new ways to look at and think about the world and our experience of it. Its legacy has been felt in many major contributions to popular and high culture, from cubism and early cinema to the works of Zadie Smith and W. G. Sebald, from advertisements for Pepsi to the observations of Oliver Sacks and Malcolm Gladwell. Yet impressionism's persistence has also been a problem, a matter of inauthenticity, superficiality, and complicity in what is merely "impressionistic" about culture today. Jesse Matz considers these two legacies-the positive and the negative-to explain impressionism's true contemporary significance. As Lasting Impressions moves through contemporary literature, painting, and popular culture, Matz explains how the perceptual role, cultural effects, and social implications of impressionism continue to generate meaning and foster new forms of creativity, understanding, and public engagement.

A fascinating look at the genesis and meaning of Van Gogh's famed paintings of his bedroom Vincent van Gogh's The Bedroom, a painting of his room in Arles, is arguably the most famous depiction of a bedroom in the history of art. The artist made three versions of the work, now in the collections of the Van Gogh Museum, the Art Institute of Chicago, and the Musee d'Orsay. This book is the first in-depth study of their making and their meaning to the artist. In Van Gogh's Bedrooms, an international team of art historians, scientists, and conservators investigates the psychological and emotional significance of the bedroom in Van Gogh's oeuvre, surveying dwellings as a motif that appears throughout his work. Essays address the context in which the bedroom was first conceived, the uniqueness of the subject, and the similarities and differences among the three works both on and below the painted surface. The publication reproduces more than 50 paintings, drawings, and illustrated letters by the artist, along with other objects that evoke his peripatetic life and relentless quest for "home." Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (02/14/16-05/10/16)

Is there such a thing as "Impressionist sculpture"? Since 1881 when Edgar Degas presented Little Dancer Aged Fourteen at the Sixth Impressionist Exhibition in Paris, the term has existed along with the discourse around it. This book is dedicated to the extensive examination of the question what it would mean to translate the characteristics of Impressionist painting, such as light, colour, ephemerality, and the ethereal, into sculpture. The book features a selection of artists including Edgar Degas, Auguste Rodin, and Medardo Rosso and examines the artistic processes that traverse genres in which one medium is enhanced by others. This valuable, fascinating resource offers a unique addition to the scholarship on the Impressionist era.

PEPIN(R) Postcard Colouring Books contain 20 postcards (format 10 x 15 cm, 4 x 6 in) of superior 250gsm acid-free and age resistant drawing paper, printed with 20 exceptional designs in very light lines. The printing is done in such a way that, depending on the techniques used, the original outline will be hardly visible after colouring. The first-rate paper is made to our specifications by one of the best paper mills in Europe and is suitable for a wide range of colouring applications, including pencil, crayon, pastel, felt marker, gouache, etc. Also water colours and liquid inks can be used.

A groundbreaking new exhibition will be presented by the Het Noordbrabants Museum, focusing on the impact of Van Gogh's interpersonal relationships on his work. Part biography, part art history, the catalogue of this exhibition will dismantle the commonly-held conception that Van Gogh's genius stemmed from his mental illness and isolation. Revealing a complex, emotionally engaging picture of the man behind some of the most celebrated works in history, this catalogue includes well-known works and pieces from private collections, as well as rare documents virtually unknown to the public, such as a never-before exhibited sketchbook that Vincent gifted to Betsy Tersteeg, daughter of an art dealer at The Hague; poetry he sent to his dear brother and confidante Theo; and six rarely featured letters of condolence received by Theo after Vincent's death. Masterpieces include Still life with Bible (1885), Madame Roulin Rocking the Cradle (La berceuse) 1889, and L'Arlesienne (Madame Ginoux) (1890). The catalogue also contains numerous less well-known portraits of family and friends, revealing how they appeared through the artist's eyes. Van Gogh's Inner Circle sheds light on Vincent's often tempestuous personality, his love affairs, his eventual estrangement from many of his colleagues, and how his relationships influenced the work he produced in the years leading up to his premature death. Van Gogh's Inner Circle was curated by Sjraar van Heugten, former Head of Collections at the Van Gogh Museum. He has curated exhibitions such as Van Gogh and the Seasons in Melbourne, at the National Gallery of Victoria - the largest exhibition of Vincent van Gogh's work in Australia. He co-authored Van Gogh (Thames & Hudson, 2005) and Van Gogh in Provence: Modernizing Tradition (Actes Sud, 2016) among many more.

A fascinating guide to Van Gogh's itinerant life, with vibrant images and stories about the many places where he lived and worked This exciting publication familiarizes readers of all ages with the many fascinating facets of Vincent van Gogh (1853--1890)-artist, correspondent, traveler, and modern explorer of Europe's cities and countryside. Thanks to Van Gogh's wanderlust and the rapid expansion of the railway system in Europe in the late 19th century, Van Gogh covered thousands of miles in his lifetime. He lived and worked in more than twenty locations: from the peaceful countryside of the Netherlands and the south of France to the hustle and bustle of big cities such as London and Paris. Authors Nienke Denekamp and Rene van Blerk trace the artist's route across Europe "from Z to A," beginning in his birthplace of Zundert in the southern Netherlands and ending where he died, in Auvers-sur-Oise near Paris. Each location is described with lively and accessible texts, comprehensive timelines, city and country maps, contemporary photographs, and related artworks by Van Gogh. Featuring an eye-catching design, captivating excerpts from Van Gogh's vast body of letters, and hundreds of color images, The Vincent van Gogh Atlas offers a truly unique version of the enduringly compelling story of Van Gogh and instills an appreciation of the many journeys-literal and figurative-that the artist made throughout his life.

Early in his career, as he grappled with the idea of becoming an artist, Vincent van Gogh attempted portraiture, possibly with a mission in the religious sense. His models were impoverished miners, weavers and peasants. Later, his great achievement was in still life, landscape painting and further portraits all closely related to the places where he lived. He moved from place to place, from his parents' vicarage to the homes of impoverished peasants, from seaside Ramsgate, and landmarks in London to the heights of Montmartre, from the famous Yellow House in Arles to hospital then a nearby asylum. Finally, he wandered the fields and streets of Auvers, near Paris. Wherever he lived, he drew and painted. As well as the places where he stayed, he painted the homes of others, and monuments that attracted him, such as churches or even suburban factories. These became the subject of an alternative kind of portraiture - one that did not involve people. His developing, emphatic and highly individual style suited the different character of the buildings he so carefully recorded. Each place, about which he also wrote at length, provides us with a solid framework with which to follow and understand him. Van Gogh's life will be revealed not only through the included illustrations of his art, but with much quotation from letters. The book hopes to answer the questions: Why was he there? what and who else were there? How did his vision suit the place - or vice versa?

The Yellow House: Van Gogh, Gauguin and Nine Turbulent Weeks in Arles is art critic Martin Gayford's account of the tumultuous nine weeks in which the famous nineteenth century artists Vincent van Gogh and Paul Gauguin shared a house in the small French town of Arles. Two artistic giants. One small house. From October to December 1888 a pair of at the time largely unknown artists lived under one roof in the French provincial town of Arles. Paul Gauguin and Vincent Van Gogh ate, drank, talked, argued, slept and painted in one of the most intense and astonishing creative outpourings in history. Yet as the weeks passed Van Gogh buckles under the strain, fought with his companion and committed an act of violence on himself that prompted Gauguin to flee without saying goodbye to his friend. The Yellow House is an intimate portrait of their time together as well as a subtle exploration of a fragile friendship, art, madness, genius behind a shocking act of self-mutilation that the world has sought to explain ever since. 'Gayford's fascinating depiction of the Odd Couple of art history is both moving and riveting' Daily Mail 'Masterly...a wonderfully alert and moving portrait' Mail on Sunday 'Profoundly absorbing. Gayford has reconstructed these tumultuous weeks...the reader lives them day by day, almost minute by minute. Delightful, utterly fascinating' Independent on Sunday Martin Gayford is a celebrated art critic and journalist who has written for the Spectator and the Sunday Telegraph and is the current Chief European Art Critic for Bloomberg. In his other book, Constable in Love: Love, Landscape, Money and the Making of a Great Painter, Gayford tells the true story of Romantic painter John Constable's life and loves.

"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.

Henry James criticized the impressionism that was revolutionizing French painting and fiction. He satirized the British aesthetic movement whose keystone was impressionist criticism. So why, time and again in important parts of his literary work, did James use the word 'impression'? Henry James and the Art of Impressions argues that James tried to wrest the impression from the impressionists and to recast it in his own art of the novel. Interdisciplinary in its range, philosophical and literary in its focus, the book shows the place of James's work within the wider cultural history of impressionism. It draws on painting, philosophy, psychology, literature, and critical theory to examine James's art criticism, early literary criticism, travel writing, reflections on his own fiction, and the three great novels of his major phase, The Ambassadors, The Wings of the Dove, and The Golden Bowl. It shows how the language of impressions enables James to represent the most intense moments of consciousness of his characters. It argues that the Jamesian impression is best understood as a family of related ideas bound together by James's attempt to reconcile the novel's value as a mimetic form with its value as a transformative creative activity.

She is famous throughout the world, but how many know her name? You can admire her figure in Washington, Paris, London, New York, Dresden or Copenhagen but where is her grave? She danced as a 'petit rat' at the Paris Opera. She was also a model, she posed for painters and sculptors - among them Edgar Degas. Taking us through the underbelly of the Belle Epoque, Laurens casts a light on those who have traditionally been overlooked in the study of art, and opens a space for essential questions. She paints a compelling portrait of Marie van Goethem and the world she inhabited, in the 1880s; a time when art unsettled the hypocrisy of society.

Claude Monet (1840-1926) is one of the best-known and most beloved painters in the history of art, with myriad publications and exhibitions devoted to his oeuvre. And yet there remains a previously undiscovered aspect of his career: his surprisingly significant role as a draftsman. This book is the first to focus on Monet's pastels, drawings, and sketchbooks, offering a revolutionary new interpretation of the artist's life and work. Monet has long been seen as an anti-draftsman, an artist who painted his subjects directly and whose rarely seen graphic works were marginal to his artistic process. In an effort to develop his public image, Monet denied the role of drawing in his working method. In actuality, Monet began his career as a caricaturist and as a teenager developed a passion for drawing that was never extinguished. He went on to master the medium of pastel and included seven in the first Impressionist exhibition in 1874. Citing recently discovered, unpublished documents that overturn the accepted image of the artist, The Unknown Monet reveals an extensive group of graphic works created over the course of the artist's career, many of which are unknown to the general public and to scholars: beautiful pastels, stunning black chalk drawings, and fascinating sketchbooks, which include pencil studies that relate to many of his paintings. The book also shows how Monet exploited the print media to promote his art. The most important publication on Monet to appear in a generation, this illuminating volume is essential to anyone interested in his work, Impressionism, and nineteenth-century French culture. Distributed for the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts Exhibition Schedule: Royal Academy of Arts, London (March 17 - June 10, 2007) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (June 24 - September 16, 2007)