Impressionism

Fülszöveg

IMPRESSIONISM
By the editors of Réalités
364 full-colour and 132 monochrome illustrations
Renoir's "Moulin de la Galette," Van Gogh's "Starry Night," Monet's "Water Lilies," Cézanne's "Mont Ste.-Victoire," Seurat's "Sunday Afternoon on the Island of La Grande Jatte"—these modern classics of the painter's art mean as much to us today as a Madonna by Raphael did to the connoisseur of the Renaissance. They and countless other magnificent canvases, loosely grouped under the designation Impressionist, came out of an extraordinary flowering of easel painting that occurred during the last third of the nineteenth century. They produced a new way of seeing pictures and indeed the world itself. The five just named and hundreds of others are reproduced with stunning authenticity here in impressionism. Included are works by the Impressionists, their precursors and followers, as well as figures more or less closely associated with their movement. To give a brief sample: Sisley, Pissarro,... Tovább

Fülszöveg

IMPRESSIONISM
By the editors of Réalités
364 full-colour and 132 monochrome illustrations
Renoir's "Moulin de la Galette," Van Gogh's "Starry Night," Monet's "Water Lilies," Cézanne's "Mont Ste.-Victoire," Seurat's "Sunday Afternoon on the Island of La Grande Jatte"—these modern classics of the painter's art mean as much to us today as a Madonna by Raphael did to the connoisseur of the Renaissance. They and countless other magnificent canvases, loosely grouped under the designation Impressionist, came out of an extraordinary flowering of easel painting that occurred during the last third of the nineteenth century. They produced a new way of seeing pictures and indeed the world itself. The five just named and hundreds of others are reproduced with stunning authenticity here in impressionism. Included are works by the Impressionists, their precursors and followers, as well as figures more or less closely associated with their movement. To give a brief sample: Sisley, Pissarro, Gauguin, Toulouse-Lautrec, Manet, Degas, Turner, Constable, Whistler, Bonnard, and Vuillard.
Impressionism, assembled with remarkable success by the editors of Réalités, captures all the fervour of the revolutionary painters as they tumbled the bastion of academicism. The text explores the social, cultural, and political background of France, and examines the importance of the scientific and engineering achievements of the time. It illustrates with a unique assemblage of photographs the protagonists—and not only the artists but also political and other figures-of the events described. Most significantly, it details the devices of the painters that so confounded their critics: their method of dividing colour and applying pigment; their strange way of seeing, in which forms were dissolved in light; their asymmetrical compositions ; and the eccentric points of view from which they chose to depict their subjects. References to the pictures themselves clearly demonstrate these
(Continued on back flap) Vissza