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.

Original compilation of 41 full-page and six half-page drawings-some finished sketches; others, studies for future works-depict dancers on stage, in the classroom, and at rehearsals. Charming, spirited views of dancers pirouetting, executing grand battements and ports de bras, practicing at the barre, adjusting their costumes in moments of repose, and more. Delightful drawings to be enjoyed by lovers of art or the dance.

This beautiful book is a brilliant exploration of a fascinating artist who changed the world of art in the 20th century and inspired future painters such as Picasso and Matisse, who said of Cezanne that he was "the father of us all."

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.

Like Claude Monet s celebrated plein air landscapes at Giverny, the series collected in this book represents among the best-loved examples of Joaquin Sorolla s (1863-1923) work, and a window into the Spanish painter s quest to capture the essence of a garden. Described by Monet as the master of light, Sorolla and his landscapes, formal portraits, and historically themed canvases drew comparisons to contemporary American painter John Singer Sargent. Sorolla had achieved renown on both sides of the Atlantic for grand scenes of Spanish life when he began a personal series of garden works, presented completely for the first time in this publication. Painted at the palaces of La Granja and the Alcazar in Seville, the Alhambra and Generalife in Granada, and at the painter s home in Madrid, these Impressionist works allowed Sorolla to apply his signature loose brushwork and training as a photographer s lighting assistant to gardens and the sculptures, architecture, and sitters that frame and animate them. Sorolla depicted reflections in fountains and pools, the sunlight dappling his glamorous sitters, sprays of orange blossoms, and shaded blue-and-white tile as he endeavoured to render the radiant peace of a summer afternoon.

James Lawrence Isherwood (1917-1989) is widely regarded by his followers as one of the best impressionist painters this country has produced. Born and bred in Wigan, now part of Greater Manchester, England, he was a prolific painter and produced his best work from the early 1960s on. His work has always been considered truly original and is typified by strong brushwork and extravagant colours. His subjects ranged from rural and industrial landscapes to nudes and portraiture, and his work has found its way into art collections across the world. Now Dr. Brian Iddon has written this authoritative biography about James Isherwood and his work.

Paul Cezanne, whom Pablo Picasso called `the father of us all', is widely considered to be 20th-century modernism's presiding genius. Cezanne's pioneering synthesis of a theory of form with the visual immediacy of Impressionism in the late 19th century inspired Henri Matisse and the Fauves and led to the development of Cubism by Picasso and Georges Braque. This latest volume in the MoMA Artist Series guides readers through ten of Cezanne's most memorable achievements, selected fromThe Museum of Modern Art's substantial collection of his work. His iconic figure paintings The Bather and Boy in a Red Vest are featured, along with emblematic still lifes and landscapes from earlier and later years. A lively essay by Carolyn Lanchner accompanies each work, illuminating its significance and placing it in its historical moment in the development of modern art.

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.

In this innovative approach to Impressionism and its methods, Jonathan Stephenson's instruction enables amateurs the world over to paint like the Impressionists.Vibrantly illustrated in colour throughout, both with wellknown works of art and step-by-step examples, the book shows how the masters achieved their diverse effects and how their ideas and styles can be adapted to today's tastes. Sections on the artists provide fascinating insights into individual techniques: learn how Monet produced his oil colour sketches, or how Sisley created his atmospheric landscapes. With an introduction providing the historical background to Impressionism, and a comprehensive section on artists' materials, this is a highly practical book that will appeal both to beginners and more experienced artists, as well as to the many thousands of of people inspired by the brilliance and beauty of Impressionist painting.

VINCENT VAN GOGH

Few artists command such fervent devotion amongst art lovers and such high prices in the salerooms of the art world. Love him or hate him, Vincent van Gogh is one of a handful of artists who is now a cultural event.

Stuart Morris's study concentrates on the paintings first, and employs van Gogh's eloquent letters as an aesthetic reference point. Much of the book is concerned with metacriticism - the way van Gogh has been critically received over the years.

Vincent van Gogh is one of the most celebrated of painters. It's a bit of a mystery. The mystery (or irony) is that his paintings have commanded the highest prices in the auction rooms of the contemporary art world (88 million dollars, 53 million dollars, and so on), yet he only managed to sell one painting during his lifetime, and he lived in poverty (with financial support from his brother Theo).

Why is Vincent van Gogh so popular? His legend has developed relatively rapidly. His art is loved by the critics and public. The crazy prices paid for single oil paintings are the manifestations of the fervour that van Gogh seems to generate. He is one of the handful of painters who cause great excitement every time exhibitions of his work are put on. One thinks also of Claude Monet, Leonardo da Vinci, Michelangelo Buonaroti and Pablo Picasso. These are artists that the public go mad for, so that when they are exhibited, there are huge queues trailing around the block.

The 1990 centenary celebrations of 'poor Vincent' showed how much he is exalted. There were films about him, discussions and conferences, TV documentaries, magazine articles, reviews, letters, and much merchandize was sold, to the great glee of the manufacturers: posters, tea towels, calendars, mugs, souvenirs of all kinds. What would the dishevelled, obsessive man who painted those small canvases in the years up to 1890 in Southern France make of the amazing fuss that now surrounds his work? What would van Gogh think of just one of his paintings being bought for 88 million dollars? It is a huge sum even in today's expensive world. You could build a hospital or two with the money. Imagine it Did Vincent know that when he painted those blue irises on that small, standard-size canvas, that it would one day be 'worth' millions of dollars?

I shall count myself very happy if I can manage to work enough to earn my living, for it worries me a lot when I think that I have done so many pictures and drawings without ever selling one.

Like the workers he depicted in numerous images, Vincent van Gogh himself worked very hard to improve his art. With a dogged determination van Gogh copied the Old Masters, as well as Japanese prints. His determined self-education and self-improvement paid off, resulting in more than 800 paintings in about 8 years. The years of van Gogh's art are relatively few - nearly all of the important works were made in the decade 1880-90. Hence his paintings are credited in art history books with the month and sometimes the day as well as the year of production. For most artists, 1889 would suffice. For van Gogh, the credit is October 1889. Producing 800 paintings in 8 years is an average of a hundred per year, or one every three and a half days. More likely, van Gogh would have worked on a number at the same time, or within a short space of time.

Vincent van Gogh (1853-1890) viewed wheat as a central metaphor of the cycle of life and the creative process. As such, it was a theme that he consistently explored throughout his career. This book examines the artist's personal and visual fascination with wheat, analyzing the significance that the motif--and by extension, the peasant at work in nature--played within the social and cultural framework of 19th-century France and in the works of other artists of the time. Focusing on his Sheaves of Wheat at the Dallas Museum of Art--one of thirteen canvases completed in the last month of his life--this beautiful book features illustrations of Van Gogh's works as well as personal correspondence and letters. Related images by such prominent contemporary artists as Emile Bernard, Jules Breton, Charles F. Daubigny, Paul Gauguin, Jean-Francois Millet, Claude Monet, and Camille Pissarro are also included. Together these works reveal the larger social and political trends of 19th-century France. Distributed for the Dallas Museum of Art Exhibition Schedule: Dallas Museum of Art (October 22, 2006 - January 7, 2007)

"Post-Impressionism to World War II" is an exciting anthology of the best art history writings of the Post-Impressionist period. Several key essays by critics including Benjamin, Greenberg and Burger knit together primary sources and classic, "canonical" criticism.
Collects the most important writings on art history from Post-Impressionism to the mid-20th century, covering both canonical and contemporary perspectives
Offers a chronicle of avant-garde practice during an especially creative, if volatile, period of history
Features several key essays by critics including Benjamin, Greenberg and Burger
Includes recent critical interventions from a range of methodological perspectives - both well-known and less familiar
Organizes material thematically, and features introductory essays to each of the five sections
Provides a valuable, stimulating resource for students and teachers alike and offers new ways to think about and teach this important period in art history.

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.

This is a fascinating look at one of the defining images of the Impressionist movement. Manet Paints Monet focuses on an auspicious moment in the history of art. In the summer of 1874, Edouard Manet (1832-1883) and Claude Monet (1840-1926), two outstanding painters of the nascent Impressionist movement, spent their holidays together in Argenteuil on the Seine River. Their growing friendship is expressed in their artwork, culminating in Manet's marvelous portrait of Monet painting on a boat. The boat was the ideal site for Monet to execute his new plein-air paintings, enabling him to depict nature, water, and the play of light. Similarly, Argenteuil was the perfect place for Manet, the great painter of contemporary life, to observe Parisian society at leisure. His portrait brings all the elements together - Manet's own eye for the effect of social conventions and boredom on vacationers, and Monet's eye for nature - but these qualities remain markedly distinct. With this book, esteemed art historian Willibald Sauerlander describes how Manet, in one instant, created a defining image of an entire epoch, capturing the artistic tendencies of the time in a masterpiece that is both graceful and profound.

Collectors played an essential yet misunderstood role in the success of Impressionism. Even though they were not immune to economic and social woes, they were often engaged in defending this artistic movement that they had helped come to life, establish itself or make known, each according to their times. It is this group of committed collectors that the present work seeks to examine. From assembling a collection to donating it to a museum, from supporting artists within the borders of France to publicising the movement internationally, from the first intimate private showings to the questions raised by the presentation of these works in museums, collectors were present at every stage of the development of Impressionism, from the dawn of the movement to the middle of the 20th century. This volume aims to re-examine and reassess the importance of these collectors in the political, social and economic contexts of their times through the contributions of 16 international specialists. Depeaux, De Nittis, the Palmers, O'Hara, Buhrle, Caillebotte, Fayet: whether they are the subjects of dedicated case studies or part of a broader discourse, the multiplicity of profiles of these collectors and the paths they followed will allow readers to gain a better understanding of their importance in the history of the Impressionist movement.

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.

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

Fifty years ago, Canada celebrated its hundredth anniversary of Confederation. At Expo 67, in communities across the country, we celebrated our coming of age as a modern, bilingual, bicultural nation-a place where anyone from any culture could thrive. But beneath the applause and the cheerful music was a darker note. In his public address at the festivities, Chief Dan George lamented what Canada's centennial did not celebrate: the colonization and marginalization of Indigenous peoples who lived on these "good lands." Now in the year of Canada's 150th birthday, we honour a new understanding of our past. We have begun-at long last-to share in a process of national reconciliation and to come together to reimagine our contribution to a global future. Artists give form and meaning to both the land and the invisible landscape of the spirit, both the past and the future. The works of Canada's artists-both Indigenous and non-Indigenous, historical and contemporary-invite us to see our country and our place within it with new eyes. This book celebrates their visions, as well as the good lands we have shared and shaped for millennia that, in turn, have shaped us.

Throughout his career, Henri Matisse used imagery as a means of engaging critically with poetry and prose by a diverse range of authors. Kathryn Brown offers a groundbreaking account of Matisse's position in the literary cross-currents of 20th-century France and explores ways in which reading influenced the artist's work in a range of media. This study argues that the livre d'artiste became the privileged means by which Matisse enfolded literature into his own idiom and demonstrated the centrality of his aesthetic to modernist debates about authorship and creativity. By tracing the compositional and interpretive choices that Matisse made as a painter, print maker, and reader in the field of book production, this study offers a new theoretical account of visual art's capacity to function as a form of literary criticism and extends debates about the gendering of 20th-century bibliophilia. Brown also demonstrates the importance of Matisse's self-placement in relation to the French literary canon in the charged political climate of the Second World War and its aftermath. Through a combination of archival resources, art history, and literary criticism, this study offers a new interpretation of Matisse's artist's books and will be of interest to art historians, literary scholars, and researchers in book history and modernism.

Innovative Impressions explores an under-examined aspect of three impressionists' careers: their groundbreaking prints and the new techniques they developed through collaboration and experimentation. In 1879, Mary Cassatt, Edgar Degas, and Camille Pissarro formed the most active core of a group of artists planning a periodical to feature their prints. Through this collaborative effort they challenged each other to develop a new language of printmaking whose visual and expressive potential went well beyond the traditional reproductive purpose of the medium. Indeed, the intimacy of small-scale works on paper at times spurred the artists to be even more daringly creative than they were in their paintings. Their interactions and engagement with printmaking varied over time, culminating in the 1890s, when each developed distinctive methods of introducing color into their work. For much of their careers this unlikely trio of artists inspired and challenged each other, and these dynamics played a crucial role in their creative processes.