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A revelatory resituation of Van Gogh's familiar works in the
company of the surprising variety of nineteenth-century art and
literature he most revered Vincent van Gogh's (1853-1890)
idiosyncratic style grew out of a deep admiration for and
connection to the nineteenth-century art world. This fresh look at
Van Gogh's influences explores the artist's relationship to the
Barbizon School painters Jean-Francois Millet and Georges
Michel-Van Gogh's self-proclaimed mentors-as well as to Realists
like Jean-Francois Raffaelli and Leon Lhermitte. New scholarship
offers insights into Van Gogh's emulation of Adolphe Monticelli,
his absorption of the Hague School through Anton Mauve and Jozef
Israels, and his keen interest in the work of the Impressionists.
This copiously illustrated volume also discusses Van Gogh's
allegiance to the colorism of Eugene Delacroix, as well as his
alliance with the Realist literature of Charles Dickens and George
Eliot. Although Van Gogh has often been portrayed as an insular and
tortured savant, Through Vincent's Eyes provides a fascinating deep
dive into the artist's sources of inspiration that reveals his
expansive interest in the artistic culture of his time. Published
in association with the Santa Barbara Museum of Art Published in
association with the Santa Barbara Museum of Art Exhibition
Schedule: Columbus Museum of Art (November 12, 2021-February 6,
2022) Santa Barbara Museum of Art (February 27-May 22, 2022)
The late 1870s and early 1880s were watershed years in the history
of French painting. As outgoing economic and social structures were
being replaced by a capitalist, measured time, Impressionist
artists sought to create works that could be perceived in an
instant, capturing the sensations of rapidly transforming modern
life. Yet a generation of artists pushed back against these
changes, spearheading a short-lived revival of the Realist
practices that had dominated at mid-century and advocating slowness
in practice, subject matter, and beholding. In this illuminating
book, Marnin Young looks closely at five works by Jules
Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll,
Jean-Francois Raffaelli, and James Ensor, artists who shared a
concern with painting and temporality that is all but forgotten
today, having been eclipsed by the ideals of Impressionism. Young's
highly original study situates later Realism for the first time
within the larger social, political, and economic framework and
argues for its centrality in understanding the development of
modern art.
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