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Edouard Manet. At the Café, 1878. Walters Art Gallery, Baltimore. With his independent spirit and a preference for ordinary models in contemporary clothing and scenes, Manet was inevitably led to a confrontation with the traditional historicism of fine art. Although drawn to the work of the old masters (among them Titian, Rembrandt, and Velázquez), he gravitated toward painting contemporary man--from café regulars to ragpickers--insisting upon a new sense of informality and casualness in art.
Claude Monet. Red Boats at Argenteuil, 1875. Fogg Museum, Harvard University, Cambridge, Mass.; Bequest-Collection of Maurice Wertheim.Although Monet automatically comes to mind as the consummate Impressionist, he, like Manet, did not initially make an attempt to cast aside tradition and its route to success. He caught the eye of Boudin while a teenager in Le Havre, where he was exploring the ports and beaches and painting clouds and atmospheric effects. Boudin encouraged him in his interest in plein-air painting and urged him to visit Paris, where he enrolled in the atelier of history painter Charles Gleyre in 1862. In 1865 two of his seascapes were accepted by the official Salon.
Henry de Toulouse-Lautrec. At the Moulin Rouge, 1892. Art Institute of Chicago; Helen Birch Bartlett Memorial Collection.What the Impressionists left us was a legacy of unparalleled variety that has become the way we have pictured French society and life during the second half of the nineteenth century.
Pierre-Auguste Renoir. Dancing at the Moulin de la Galette, 1876. Musée DOrsay, Paris.The seeds that had been planted in the minds of Bazille, Sisley, and Monet at the time of Manets one-man exhibition in 1867 bore spectacular fruit seven years later with the first of eight collective exhibitions to be held in Paris between 1874 and 1886. Joined by Degas, Pissarro, Renoir, Guillaumin, Morisot, Cézanne, Boudin, and Bracquemond in founding a group incongruously called the Société anonyme des peintres, sculpteurs, graveurs, etc., these artists were to enlist about thirty participants for the first Impressionist exhibition in 1874.
Paul Cézanne. The Battle of Love, c. 1880. National Gallery of Art, Washington, D.C.; Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman.When Paul Cézanne moved to Paris in 1861, he spent hours sketching in the Louvre. He also worked at the Académie Suisse, where he met Pissarro, who later played a decisive role in his development as a landscape painter. Through his friendship with Emile Zola, he became acquainted with Manet, whose use of strong contrasts, opaque tones, and candid execution he found inspirational. Yet through the 1860s and 1870s Cézanne continued to paint visionary and erotic themes with mythological or religious connections.
The Great Book of French Impressionism

By Diane Kelder 
Size: 11 x 13" 400 pages
400 illustrations, 229 in full color
Published 2000
ISBN: 978-0-7892-0688-6
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The return of the revised edition of the most popular volume on the subject offers inspired, authoritative text and hundreds of exquisite illustrations.

The Great Book of French Impressionism celebrates the richness and exuberance of the Impressionistss world — a world of light and color, of sunlit fields and shimmering waterscapes, of bustling city views and intimate domestic scenes. The 400 illustrations in this handsomely designed volume faithfully capture the subtle nuances of light and keen perception that make French Impressionist paintings unique. This edition features recent scholarship, more complete backmatter, and an expanded index.

In her thoughtful and cogent text, art historian Diane Kelder traces the development of Impressionism from its roots in landscape and realist painting through its focus on modern urban life to its ultimate goal: to fix on canvas the fleeting moods and effects of nature in an ever-changing world. The author weaves into her narrative fascinating anecdotes and excerpts form contemporary essays and letters, examines in detail the lives and works of all the major Impressionists and Post-Impressionists, including Manet, Monet, Renoir, Degas, Toulouse-Lautrec, Seurat, and Cezanne, and shows how their work influenced others, ultimately giving rise to the new art of the twentieth century.

Diane Kelder is Professor of Art History at the College of Staten Island and the Graduate School of the City University of New York. She is the author of numerous articles and books, including The Great Book of Post-Impressionism and Stuart Davis: A Documentary Monograph in Modern Art.

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