John House was de deken van de historici van het impressionisme. Verre van lichtvoetig of vleierig te zijn, werden de impressionisten in House's geschriften onthuld als scherpe waarnemers van sociale verandering. In plaats van een op zichzelf staande beweging te zijn, werden ze getoond als slimme onderhandelaars van artistieke conventies en instellingen. House speelde een essentiële rol bij het transformeren van de academische studie van deze periode en stond aan het hoofd van de ontwikkeling van de publieke waardering ervan door de spectaculaire tentoonstellingen die hij cureerde.
This stunning book, published to accompany a major touring exhibition, examines Renoir's landscape art in depth, demonstrating that he was one of the most audacious and original landscape artists of his age.
Highlighting the first-ever exhibition of Paul Czanne's complete collection at The Courtauld Gallery, this catalogue celebrates the 75th anniversary of The Courtauld Institute of Arts. It features an exceptional array of seminal paintings, alongside rarely seen drawings and watercolors, showcasing the breadth of Czanne's artistic evolution throughout his career. The collection's significance is underscored by its quality and diversity, offering a comprehensive insight into one of the most influential artists in art history.
With prints ranging from the 1860s through the 1920s, Claude Manes nearly seventy years of productivity are fully represented to confirm his artistic eminence as one of the founders of Impressionism. A total of sixty works from each stage of his career ore seen in striking prints. A fascinating introduction reveals the Parisian life and Monet's influences, including the Japanese woodblock prints by Hiroshige which led to the design of his own famous garden.
Analyzes the career of the artist responsible for the public image of Impressionism, focusing on the evolution in Monet's painting technique and execution and relating it to his ideas, experiences, and the contexts in which he worked
John House examines the many facets of the work and what it reveals about Renoir as a man and artist. He asks, "What did it mean to paint a picture like La Promenade in France in 1870, in the final months of Napoleon III's Second Empire?" The reader is invited to look at the canvas - and Impressionism - as a rejection of the idealist world of academic art and as a challenge to contemporary social norms.