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The Admiral and the Ambassador
On July 20, 1792, the body of Admiral John Paul Jones, Father of the American Navy, was buried in the Saint LouisCemetery on the outskirts of Paris. As the French Revolution was gathering steam, the unmarked location of Jones's grave was nobody's primary concern. And though the admiral was not forgotten to history, in time he was certainly lost beneath the soil in the City of Light. Luckily, Jones had been sealed in a lead-lined coffin filled with alcohol to preserve the body. In theory, if somebody could locate that coffin, Jones could be returned to the United States for a proper burial. That somebody was Horace Porter, Civil War hero, aide to General (and later President) Ulysses S. Grant...
Seeing Beyond the Word
This collection of essays seeks to redefine the discussion of Calvinism's impact on the visual arts through an exploration of Reformed artistic influences in England, France, Switzerland, Germany, Hungary, the Netherlands, and America. 200+ illustrations, many in color.
Pissarro, Neo-Impressionism, and the Spaces of the Avant-Garde
Martha Ward tracks the development and reception of neo-impressionism, revealing how the artists and critics of the French art world of the 1880s and 1890s created painting's first modern vanguard movement. Paying particular attention to the participation of Camille Pissarro, the only older artist to join the otherwise youthful movement, Ward sets the neo-impressionists' individual achievements in the context of a generational struggle to redefine the purposes of painting. She describes the conditions of display, distribution, and interpretation that the neo-impressionists challenged, and explains how these artists sought to circulate their own work outside of the prevailing system. Painting...
Uncanny Spectacle
Drawing on the correspondence of the artist, his friends and his family, as well as a review of contemporary critical responses, this text examines the work of Sargent's early maturity. The text is the catalogue for an exhibition at the Sterling and Francine Clark Art Institute in Summer 1997.
Nationhood and Nationalism in France
Leading international historians examine the impact of nationhood and nationalism on French life. World-renowned contributors (many publishing for the first time in English), include Eugene Weber, Zeev Sternill, Pierre Sorlin and Jean-Claude Allain.
French Prints from the Age of the Musketeers
Experience the life of seventeenth-century France through close-up views of life during the reign of Louis XIII in this handsomely produced exhibition catalogue. An astonishing amount of visual documentation of this period was captured in prints, yet many of them are rare and the artists little known. French Prints from the Age of the Musketeers (Museum of Fine Arts, Boston, October 21, 1998 - January 10, 1999) provides a picture of the diversity of printmaking in France between 1610 and 1660. It includes 126 works by 50 printmakers arranged by topic - genre, current events, landscapes, portraits, religious subjects and allegories. Among the painter-etchers are Jacques Bellange, Claude Lorrain, Laurent de La Hyre and Simon Vouet, while graphic artists include Jacques Callot and Abraham Bosse. Less familiar image makers such as Richelieu's architect Jacques Lemercier, portraitists Jean Morin and Robert Nanteuil and the inventive Pierre Brebiette will be a revelation to the American public. There is no other book in the English language as extensive on this subject.
Mapping Impressionist Painting in Transnational Contexts
This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.
