A celebration of the work and lives of women artists who shaped the art world of 19th-century Paris In the second half of the 19th century, Paris attracted an international gathering of women artists, drawn to the French capital by its academies and museums, studios and salons. Featuring thirty-six artists from eleven different countries, this beautifully illustrated book explores the strength of these women's creative achievements, through paintings by acclaimed Impressionists such as Mary Cassatt and Berthe Morisot, and extraordinary lesser-known artists such as Marie Bashkirtseff, Anna Bilinska-Bohdanowicz, Paula Modersohn-Becker, and Hanna Pauli. It examines their work against the sociopolitical background of the period, when women were mostly barred from formal artistic education but cleverly navigated the city's network of ateliers, salons, and galleries. Essays consider the powerfully influential work of women Impressionists, representations of the female artist in portraiture, the unique experiences of Nordic women artists, and the significant presence of women artists throughout the history of the Paris Salon. By addressing the long-undervalued contributions of women to the art of the later 19th century, Women Artists in Paris pays tribute to pioneers who not only created remarkable paintings but also generated momentum toward a more egalitarian art world. Published in association with the American Federation of Arts Exhibition Schedule: Denver Art Museum (10/22/17-01/14/18) Speed Art Museum (02/17/18-05/13/18) Clark Art Institute (06/09/18-09/03/18)

Since the Renaissance, a tour of Italy has been an essential stage in the apprenticeship of artists. Starting in the mid 1840s, Rome, Florence, Venice, Naples, Pompeii and many other places attracted painters, sculptors, architects, and photographers, who set up temporary residence there or even opened their own studios. Their reasons for doing so were varied: some attempted to preserve the memory of sites they feared might disappear; others had a more commercial interest, with scientists, archaeologists, and artists photographing the principal monuments and sites likely to interest particular clients. As tourism developed, the desire of travelers to take back souvenirs of the places they visited also grew, multiplying the number of pictures of churches, villas, fountains, etc., that were sold either singly or in album sets.

This book presents a selection of the numerous and varied photographic collections in the Musee d'Orsay, including calotypes by Frederic Flacheron and Alfred-Nicolas Normand, and prints by the greatest names in Italian photography, among them Alinari, Altobelli, Brogi, Caneva, MacPherson, Naya, Noack, and Pont. There are albums dedicated to views of Venice published by Ferdinando Ongania, pictures taken by the pictorialist photographers Edward Steichen and Constant Puyo, and others by amateur photographers like the Duke of Orleans.