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The Arts and Crafts Movement
Arts & Crafts was a unique movement which triggered a veritable reform in the applied arts in England. Founded by John Ruskin, then put into practice by William Morris, the Arts & Crafts Movement promoted revolutionary ideas in Victorian England. The work of artisans and designers thus became the heart of this new ideology, which influenced styles throughout the world, translating the essential ideas of Arts & Crafts into design, architecture and painting.
Bonnard and the Nabis
Pierre Bonnard was the leader of a group of post-impressionist painters who called themselves the Nabis. Al bert Kosten evitch lets us compare and put into perspective the artists within this fascinating group."
Claude Monet
For Monet, the act of creation was always a painful struggle. His obsession to express emotions and to transmit light effects over nature was much more intense than his contemporaries. In his words: "Skills come and go... Art is always the same: a transposition of Nature that requests as much will as sensitivity. I strive and struggle against the sun...should as well paint with gold and precious stones."
A Companion to Nineteenth-Century Art
A comprehensive review of art in the first truly modern century A Companion to Nineteenth-Century Art contains contributions from an international panel of noted experts to offer a broad overview of both national and transnational developments, as well as new and innovative investigations of individual art works, artists, and issues. The text puts to rest the skewed perception of nineteenth-century art as primarily Paris-centric by including major developments beyond the French borders. The contributors present a more holistic and nuanced understanding of the art world during this first modern century. In addition to highlighting particular national identities of artists, A Companion to Nineteenth-Century Art also puts the focus on other aspects of identity including individual, ethnic, gender, and religious. The text explores a wealth of relevant topics such as: the challenges the artists faced; how artists learned their craft and how they met clients; the circumstances that affected artist's choices and the opportunities they encountered; and where the public and critics experienced art. This important text: Offers a comprehensive review of nineteenth-century art that covers the most pressing issues and significant artists of the era Covers a wealth of important topics such as: ethnic and gender identity, certain general trends in the nineteenth century, an overview of the art market during the period, and much more Presents novel and valuable insights into familiar works and their artists Written for students of art history and those studying the history of the nineteenth century, A Companion to Nineteenth-Century Art offers a comprehensive review of the first modern era art with contributions from noted experts in the field.
Gustav Klimt
Gustav Klimt (1862-1918), was one of the most influential artists at the end of the 19th century and was the founder of the Viennese Secession movement. He used the movement to express his criticism of traditional art, which was characterised by its opposition to change and the refusal to countenance a certain vision of Modernism. Klimt took his inspiration from the slow but unstoppable decline of the Austro-Hungarian Empire and the multitude of cultures from which it was composed. Klimt was an artist of great eroticism and sensuality and together with Kokoschka and Schiele, he is one of the great masters of Expressionism. This book brings together Klimt's finest paintings, along with a text that demonstrates the extraordinary eclecticism of this great artist.
Impressionism
"I paint what I see and not what it pleases others to see." What other words than these of #65533;douard Manet, seemingly so different from the sentiments of Monet or Renoir, could best define the movement of Impressionism? Without a doubt this singularity was explained when, shortly before his death, Claude Monet wrote: "I remain sorry to have been the cause of the name given to a group the majority of which did not have anything Impressionist." In this work, Nathalia Brodska#65533;a examines the contradictions of this late 19th century movement through the paradox of a group who, while forming a coherent ensemble, favoured the affirmation of artistic individuals. Between academic art and the birth of modern, non-figurative painting, the road to recognition was long. Analysing the founding elements of the movement, the author follows, through the works of each of the artists, how the demand for individuality gave rise to modern painting.
Modern Theories of Art 2
In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism.
Post-Impressionism
While Impressionism marked the first steps toward modern painting by revolutionising an artistic medium stifled by academic conventions, Post-Impressionism, even more revolutionary, completely liberated colour and opened it to new, unknown horizons. Anchored in his epoch, relying on the new chromatic studies of Michel Eug#65533;ne Chevreul, Georges Seurat transcribed the chemist's theory of colours into tiny points that created an entire image. With his heavy strokes,Van Gogh illustrated the midday sun, while C#65533;zanne renounced perspective. Rich in its variety and in the singularity of its artists, Post-Impressionism was a passage taken by all the well-known figures of 20th century painting, and which is here presented, for the great pleasure of the reader, by Nathalia Brodska#65533;a.
Vincent Van Gogh
Van Gogh's life and work are so intertwined that it is hardly possible to distinguish the two. While observing his paintings we see a panorama of his life story-a story that is now considered a legend. Van Gogh is the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the unconventional artist.
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Impressionism
Painting with light and color On April 15th, 1874, in the Parisian studio of photographer Nadar, was the opening of the first group exhibition that was uninhibited by government interference and the dictates of an official selection committee. This date has gone down in the annals of art history because it marks the birth of the Impressionism. Impressionistic paintings now rank among the most popular works of art and are the pride of any museum or collection worldwide. However, in 1874 the public response to the exhibition, and to Impressionist painting, was not adoration but rather shock and even outrage. The Impressionists and the succeeding Neo-Impressionists were avant-gardist and revolutionary, paving the way for modern art. Present-day viewers, hardly realizing this revolutionary potential, can be content to enjoy the aesthetic of light and color. Artists featured in detail: Frederic Bazille, Marie Braquemond, Gustave Caillebotte, Mary Cassat, Edgar Degas, Vincent Van Gogh, Armand Guillaumin, Max Liebermann, Claude Monet, Berthe Morisot, Guiseppe de Nittis, Camille Pissarro, Pierre-Auguste Renoir, Medardo Rosso, Giovanni Segantini, John Singer Sargent, Georges Seurat, Paul Signac, Walter Richard Sickert, Alfred Sisley, Max Slevogt, Fritz von Uhde, Federico Zandomeneghi About the Series: Each book in TASCHEN's Basic Genre Series features: a detailed illustrated introduction plus a timeline of the most important political, cultural and social events that took place during that period a selection of the most important works of the epoch, each of which is presented on a 2-page spread with a full-page image and with an interpretation of the respective work, plus a portrait and brief biography of the artist approximately 100 colour illustrations with explanatory captions
Impressionism in Britain
A catalogue to the exhibition of Impressionism in Britain held at the Barbican Art Gallery in London in the spring of 1995, this work argues that in the late 19th century, Impressionism was far less homogeneous than we recognize today. It defined itself internationally in a series of schools which had all originated through contact with Paris.
Monet's Impressions: Words and Pictures
Throughout his life, Claude Monet wrote and spoke about his art. This elegant book pairs spectacular reproductions of some of his most important paintings with his own words to create a uniquely personal look at the work of one of the worlds most renowned artists. The poetic text introduces readers to the Impressionists' goal of capturing a fleeting moment and makes this an art book perfect for the young and the young at heart.
Rodin Sculptures
Auguste Rodin (1840-1917) is the only sculptor of equal rank who can be placed alongside the finest painters of his generation such as great French painters as Manet and Cézanne. While he has been considered an early Modernist among sculptors, he drew on a uniquely rich variety of artistic traditions, including those of ancient Greece, Egypt, the Far East and the Renaissance. This classis monograph, first published in 1939, gathers together a stunning collection of photographs, all specially commissioned for this edition, that depict Rodin's masterpieces in great detail. We are able to contemplate the momentous presence of The Thinker, the powerfully melancholy of The Burghers of Calaisand outstanding portrait busts of the last century. This monograph is itself a special work: not solely on account of Rodin's legendary sculpture, but also because of its incredibly competitive price given quality and elegance of the edition.
Van Gogh's Progress : Utopia, Modernity, and Late-Nineteenth-Century Art
In Carol Zemel's insightful reinterpretation of Van Gogh's work and career, the artist is seen as a determined modern professional instead of the tortured romantic hero that legend has given us. Zemel's fresh approach emphasizes the utopian idealism that infused both Van Gogh's life and his pictures. She looks at the artist's career from 1882 to 1890 through six utopian projects or professional schemes, each embodying a specific societal crisis for Van Gogh's generation: women and sexuality, the rural artisan, republican citizenry, professional identity, the burgeoning art market, and the construction of a modern rural ideal. Zemel reveals how each endeavor, as Van Gogh treated it, offered a vision of utopian possibility. She also analyzes broader historical problems encountered by all avant-garde artists of the late nineteenth century. Zemel carefully examines Van Gogh's letters and work and also draws from municipal archives, local histories, nineteenth-century literature, and contemporaneous criticism. Her handsomely illustrated book, essential reading for art historians and scholars of late-nineteenth-century history and French studies, will also captivate anyone interested in Vincent van Gogh.
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