The Man Who Loves Cézanne, a quiet but authoritative new collection from Dabney Stuart, blends an assortment of landscapes, themes, forms, and tones. The poems vary in subject—World War II, browsing
So deep was the link between painter Paul Cézanne and Provence, National Gallery of Art curator Conisbee surmises, that the red pigment in Cézanne's paints came directly from the marne rouge, the regi
Paul Cézanne (1839 -1906) documented the terrain of Provence like a loving testament to his homeland, but his paintings, with thick parallel brushstrokes running into bare canvas, and planes of color
From the celebrated biographer of Cézanne and Braque, here is the first major biography of the pathbreaking, perpetually influential surrealist artist.In this thought-provoking life of René Magritte (
Impressionist and Post-Impressionist masterpieces from the Courtauld Gallery are brought together at the National Gallery with paintings from both collections by Edgar Degas, Paul Cézanne, Paul Gaugui
Cézanne painted his studio walls a dark grey. He mixed the color and painted it himself. Every object in the studio, which was illuminated by a vast north window, seemed to be absorbed into the grey
Color the Classics lets you put your own creative spin on 30 masterpieces like Grant Wood's American Gothic and Monet's Water Lilies which are part of the vast Art Institute of Chicago catalog. Create your own work of art by replicating the classics or add your own creative flair to masterpieces admired for centuries. Artists included are: Pablo Picasso, Georgia O'Keeffe, Katsushika Hokusai,Paul Cézanne, Claude Monet, Vincent van Gogh, Georges Seurat, Edward Hopper, Grant Wood and many more.
The Courtauld Gallery holds the finest group of works by Paul Cézanne (1839–1906) in Britain. This is the catalogue to an exhibition showing the entire collection together for the first time, marking
This book explains what Impressionism is and presents the favorite themes of the most distinguished impressionist artists (Courbet, Degas, Renoir, Monet, Pissaro, Sisley, Seurat, Cézanne and Van Gogh)
Cézanne's painting The Eternal Feminine, painted in 1878, has been given considerable attention in the literature on this artist, though it has generally embarrassed scholars because it suggests aspects of the artist's personality that many connoisseurs in the past would rather have repressed. The painting has been known by a variety of titles and, as Wayne Andersen has discovered, has also been altered. He traced these alterations to an art dealer who made them in an effort to render the painting more marketable. This volume is the first to interrogate the original state of The Eternal Feminine and to resolve its mysterious importance to Cézanne and, more broadly, the history of art. Devoting a separate chapter to each of the titles by which the picture has been known, Andersen resolves its hidden meaning while providing a fresh look at Cézanne's artistic process.
Jane Roos explores the reception of modernist painting in the years that preceded the Impressionist exhibition of 1874. Opening with an extensive analysis of the ministry of fine arts and the politics of the Salon, the study considers the Salon experiences of Courbet, Manet, and the group that became known as the Impressionists: Monet, Renoir, Pissarro, Degas, Morisot, Cézanne, and Bazille. Revealing the relative liberalism of art administrators, Jane Roos questions the traditional 'rebel status' accorded to these painters in traditional histories of Modernism. This book also examines how art was politicized during this period and how politics affected the Impressionist exhibition of 1874.
This book presents a comparative study of two pairs of collaborative artists who worked closely with one another. The first pair, Cézanne and Pissarro, contributed to the emergence of modern art. The second pair, Johns and Rauschenberg, contributed to the demise of modern art. In each case, the two artists entered into a rich and challenging artistic exchange and reaped enormous benefits from this interaction. Joachim Pissarro's comparative study suggests that these interactive dialogues were of great significance for each artist. Taking a cue from the eighteenth-century German philosopher Johann Gottlieb Fichte, he suggests that the individual is the result of reciprocal encounter. Paradoxically, the modernist tradition has largely presented each of these four artists in isolation. This book thus offers a critique of modernism as essentially monological and as a tradition that resists thinking about art in plural terms.
