This collection of Paul Cezanne's letters provides an insight into his thoughts and 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.

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the chronology describes the events of Gauguin's life, along with those of his friends; thanks to extensive research in unpublished archives, it also casts completely new light on Gauguin's ancestry.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.

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.

A breath-taking masterpiece Cincinnati Art Museum's Undergrowth with Two Figures, is one of the twelve ambitious panoramic landscapes Vincent van Gogh created during the last, highly productive, weeks of his life in the summer of 1890, whilst staying at Auvers, just north of Paris. It has recently been restored and now provides the focus and the springboard for this book. Nine works by Van Gogh and a further fourteen by his contemporaries, including Claude Monet, Paul Gauguin, Camille Pissarro, Pierre-Auguste Renoir, Jean-Baptiste-Camille Corot, and Paul Cezanne, reveal how all of these artists attempted to capture the subtle and transient effects of light on foliage and the feeling of walking under the forest canopy, the "sous-bois".

Along with Turner, no artist has sought more than Claude Monet (1840-1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called "only an eye, but my God what an eye!" who stayed completely true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color, and whether it was through his early interest in Japanese prints, his time in the dazzling light of Algeria as a conscript, or his personal acquaintance with the major painters of the late 1800s, what Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations were the late series of water lilies, painted in his own garden at Giverny, that, in their moves towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential of artists, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

This book is a hybrid collection of authors from various disciplines - literature, art history, history, and media, cultural and literary studies - who examine the life and work of Vincent van Gogh and its multiple meanings within a broad range of (inter)national contexts. Vincent Everywhere offers the reader a journey through time, beginning in our own day with the meaning of Vincent van Gogh in the Netherlands of the twenty-first century, to the ways in which Van Gogh was embraced by Hollywood (and how European cinema resisted this appropriation), to the Franco-German struggle regarding the discursive 'site' of Van Gogh's shoes, to the Japanese love affair with Van Gogh, to the problems the French have with the place of Van Gogh's letters in their literary canon. The book ends with Van Gogh in his own time, the nineteenth century, examining his perception of his own foreignness as an immigrant in England, Belgium and France, and the early conflicts regarding the location (both literal and figurative) of his artistic legacy.