This book is a pioneering reading of Impressionism from a feminist perspective by a noted art historian. Norma Broude analyzes the philosophical underpinnings of landscape painting in the late ...nineteenth century discussing the critical misconceptions attached to Impressionism, in particular the work of Monet.
This study analyzes the impact of color-making technologies on the visual culture of nineteenth-century France, from the early commercialization of synthetic dyes to the Lumière ...brothers’ perfection of the autochrome color photography process. Focusing on Impressionist art, Laura Anne Kalba examines the importance of dyes produced in the second half of the nineteenth century to the vision of artists such as Edgar Degas, Pierre-Auguste Renoir, and Claude Monet.
The proliferation of vibrant new colors in France during this time challenged popular understandings of realism, abstraction, and fantasy in the realms of fine art and popular culture. More than simply adding a touch of spectacle to everyday life, Kalba shows, these bright, varied colors came to define the development of a consumer culture increasingly based on the sensual appeal of color. Impressionism—emerging at a time when inexpensively produced color functioned as one of the principal means by and through which people understood modes of visual perception and signification—mirrored and mediated this change, shaping the ways in which people made sense of both modern life and modern art.
Demonstrating the central importance of color history and technologies to the study of visuality, Color in the Age of Impressionism adds a dynamic new layer to our understanding of visual and material culture.
Nachdem die Impressionisten den ersten Schritt in Richtung der modernen Kunst getan und die Kunstwelt von akademischen Konventionen befreit hatten, war es dem Postimpressionismus vorbehalten, die ...Farbpalette vollstandig von ihren jahrtausendealten Fesseln zu befreien und neuen Horizonten entgegenzufuhren. Im tiefen Glauben an die Zukunftstrachtigkeit der chromatischen Studien von Michel Eugene Chevreul ubertrug Georges Seurat die Farbtheorien des Chemikers in eine Malerei, die aus winzigen Punkten ein ganzes Gemalde entstehen lie. Mit seinen kraftvollen Pinselstrichen bannte van Gogh die Mittagssonne auf die Leinwand, wahrend Cezanne sich uber die Lehren der Perspektive hinwegsetzte. Unter dem Stichwort Postimpressionismus sind ebenso mannigfaltige wie einzigartige Kunstler zusammengefasst. Alle bekannten Namen der Kunstwelt des fruhen 20. Jahrhunderts durchliefen eine postimpressionistische Phase. Natalja Brodskaja fuhrt den Leser in die Stilvielfalt des Postimpressionismus ein.
Der Impressionismus stand seit seiner Entstehung im Zentrum des Interesses eines breiten Publikums und impressionistische Werke verzaubern auch heute noch die Betrachter mit ihren erstaunlichen ...Farben und Formen. Dieses Buch bietet eine Auswahl der beeindruckendsten Werke von Kunstlern wie Degas, Monet, Pissarro, Renoir und Sisley. Das handliche Mega Square Format ist der groen Beliebtheit dieser Epoche angepasst und macht es zu einem perfekten Geschenk.
Impressionism is the most popular art movement among museum-goers. But that which may now seem delightful and rather inoffensive landscape painting was in truth one of the first avant-garde ...movements, whose members decided to act as a group in order to more effectively combat traditional art values. The Impressionist's plein airpaintings shocked the public for their technique as much as for their apparent banality. But while Monet, Sisley, Pissarro, and others sought to capture light's fleeting nature, the following generation would go on to reject naturalism. Post-Impressionists such as Gauguin, Van Gogh, Cezanne, and Seurat would favour the subjective over the objective, the timeless over the concrete. In so doing, they paved the formal grounds on which 20th century modern art would grow. This Essential volume is a visual guide through these crucial moments in art history and of the 19th century's unrelenting advance towards modernity.
Degas was closest to Renoir in the impressionist's circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre's studio; most likely ...he first met the future impressionists at the Cafe Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter's memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions depicting racecourses, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject, Mademoiselle Fiocre dans le ballet de la Source (Mademoiselle Fiocre in the Ballet 'The Spring') (New York, Brooklyn Museum). Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas' first painting devoted solely to the ballet was Le Foyer de la danse a l'Opera de la rue Le Peletier (The Dancing Anteroom at the Opera on Rue Le Peletier) (Paris, Musee d'Orsay). In a carefully constructed composition, with groups of figures balancing one another to the left and the right, each ballet dancer is involved in her own activity, each one is moving in a separate manner from the others. Extended observation and an immense number of sketches were essential to executing such a task. This is why Degas moved from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days.
This study analyzes the impact of color-making technologies on
the visual culture of nineteenth-century France, from the early
commercialization of synthetic dyes to the Lumière brothers'
perfection ...of the autochrome color photography process. Focusing on
Impressionist art, Laura Anne Kalba examines the importance of dyes
produced in the second half of the nineteenth century to the vision
of artists such as Edgar Degas, Pierre-Auguste Renoir, and Claude
Monet.
The proliferation of vibrant new colors in France during this
time challenged popular understandings of realism, abstraction, and
fantasy in the realms of fine art and popular culture. More than
simply adding a touch of spectacle to everyday life, Kalba shows,
these bright, varied colors came to define the development of a
consumer culture increasingly based on the sensual appeal of color.
Impressionism-emerging at a time when inexpensively produced color
functioned as one of the principal means by and through which
people understood modes of visual perception and
signification-mirrored and mediated this change, shaping the ways
in which people made sense of both modern life and modern art.
Demonstrating the central importance of color history and
technologies to the study of visuality, Color in the Age of
Impressionism adds a dynamic new layer to our understanding of
visual and material culture.
