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The Impressionists redefined the concept of Western portraiture with their iconoclastic approach to art. By focusing on ephemera, and including the sitter in a larger environment, the Impressionists removed portraiture's previous purpose of formally documenting the subjects' status for the historical record. With this informal approach to articulating individual identities, the Impressionists captured an intimate side of their sitters, as well as their era.
"Faces of Impressionism" the first show to focus on exclusively on the portraits made by the Impressionists, as well as their immediate predecessors and successors. Organized by The Baltimore Museum of Art, this exhibition premiers October 10, 1999 and runs through January 30, 2000, before traveling to The Museum of Fine Arts, Houston, and The Cleveland Museum of Art.
Presented chronologically, this survey begins in the mid-nineteenth century with Realist artists, including Courbet and Manet, whose methods and subjects sparked the Impressionists to revolutionize painting. This volume features the best examples from the artists who came to define the Impressionist movement, including Monet, Renoir, Cassatt, Degas, Morisot, and Pissaro, as well as later work by Cezanne and Gauguin, whose artistic advancements prefigure the course of twentieth-century painting.
"Faces of Impressionism" describes the artist's relationship with the sitter, as well as other images (paintings and/or photographs) which situate the work in the history of art. The Impressionistic developments in style and subject reflect the advancements of their society; their art reflects the bourgeois rise to power. From Mary Cassatt's modernized Madonna and Child to Degas' Manet's, and Gauguin's images of entertainers, once can feel the creeping current of contemporary culture which parallels their more apparent, distinctive approach to painting. As so many people who were not aristocracy or clergy could commission portraits, slowly but surely, consumerism, as dictated by the middle class, emerged. (Not ironically, the paintings for "Faces of Impressionism" have been garnered from American collections, as, at that time, those on this side of the Atlantic purchased that which was popular in Europe.)
This volume, revealing an intimate picture of the Impressionist world, provides valuable insight into a movement that changed the course of painting forever.
About the Author
Sona Johnston is Curator of Painting and Sculpture Before 1900 at The Baltimore Museum of Art. She has organized exhibitions on the art of Antoine-Louis Barye, Honor Daumier, Winslow Homer, Louis Comfort Tiffany, and others. Her writings include numerous exhibition and collection catalogues. At present she is preparing a catalogue raisonn of the work of the American Impressionist Theodore Robinson.
John House is Professor of the History of Art and Deputy Director of the Courtauld Institute of Art, University of London. An expert on nineteenth-century French art, he has written requisite monographs on Monet and Renoir and has made major contributions to many notable books on Impressionist art.
Susan Bollendorf is Research Assistant in the Department of Painting and Sculpture Before 1900 at The Baltimore Museum of Art.
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John House is Professor of the History of Art and Deputy Director of the Courtauld Institute of Art, University of London. An expert on nineteenth-century French art, he has written requisite monographs on Monet and Renoir and has made major contributions to many notable books on Impressionist art.
Susan Bollendorf is Research Assistant in the Department of Painting and Sculpture Before 1900 at The Baltimore Museum of Art.
--このテキストは、 ハードカバー 版に関連付けられています。
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Ok for the color plates...
2006/6/9
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I'm a realist wanting to be a little more painterly and turning to impressionism for ideas. I bought this book (used, very cheap) for the color plates only, just to have a few impressionist portraits to look at. The book is very good for that. It covers 59 portraits, each with a 2/3 page color plate and a bit of history on the artist and their subjects. There are also numerous 1/4 to 1/2 page color plates scattered throughout the book.
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