The Thames and Hudson Encyclopedia of Impressionism PDF
Preview The Thames and Hudson Encyclopedia of Impressionism
I The Thames and Hudson Encyclopaedia of Impressionism BERNARD DENVIR mm mm *F^T*3gKS* 4^ v#» £*&#' pLVXp $^MNIVM m SSrfl&i'V CcaR"" £$1 L 1,1 >->JIf?11gS 1 BUSS ?i* BOSTOISI PUBLIC LIBRARY Bernard Dcnvir is the author ofa four-volume documentary history oftasteinart, architectureanddesigninBritain, aswellasof books on Chardin, Impressionism, Post-Impressionism and Fauvism. A contributorto manyjournalsand magazines, he washeadoftheDepartmentofArtHistoryatRavensbourne College ofArt and Design, a member ofthe Council for National Academic Awards, and for several years President of the British section of the International Association of Art Critics. A complementary volume in the World ofArt series is the author's The Impressionists at First Hand (1987). WORLD OF ART This famous scries provides the widest available range ofillustrated books on art in all its aspects. Ifyou would like to receive a complete list oftitles in print please write to: THAMES AND HUDSON 30 Bloomsbury Street, London wcib 3QF In the United States please write to: THAMES AND HUDSON INC. 500 Fifth Avenue, New York. New York, 101 10 The Thames and Hudson Encyclopaedia of IMPRESSIONISM Bernard Denvir 245 illustrations, 1} in color THAMES AND HUDSON BRIGHTON For all myfamily Any copy ofthis book issued by the publisher as a paperback is sold subject to the condition that it shall not by way oftrade or otherwise be lent, resold, hired out or otherwise circulated without the publisher's prior consent in any form ofbinding or cover other than that in which it is published and without a similar condition including these words being imposed on a subsequent purchaser. ©1990 Thames and Hudson Ltd, London First published in the United States in 1990 by Thames and Hudson Inc., 500 Fifth Avenue, New York, NeW York 10110 Library ofCongress Catalog Card Number 89-50636 All Rights Reserved. No part ofthis publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. Printed and bound in Singapore Contents A reader's guide to the use of this book 6 Subject index 7 Maps 10 THE ENCYCLOPAEDIA 13 General bibliography 232 Comparative chronology 233 Gazetteer of the major Impressionist collections 238 Illustration credits 240 A reader's guide to the use of this book Few periods in the history ofarthave received To enable the reader to investigate further such intense examination over the past half- the necessarily concise information contained century as the comparatively short one which withinthetext,virtuallyeveryindividualentry saw the flowering of Impressionism. During is provided with a selected bibliography. the past decade a great deal ofrevisionism has Workswhichrecurfrequentlyareindicatedby been taking place in our perception of the the author's name followed by the date of movementandtheartistswhoparticipatedinit. publication, e.g. Rewald (1973); a key to these Muchofthisistobefoundinrecentlypublished abbreviated references will be found in the books such as T.J. Clark's The Painting of general bibliography on pp. 232-33, which ModernLife(1985),JohnHouse'sMonet;Nature alsolistsworksdealingwiththemovementand intoArt(1986), andRobert L. Herbert's Impres- its practitioners as a whole. sionism;Art, Leisure, andParisian Society (1988); The subject index opposite is intended to but much is also enshrined in specialist indicate the range ofentries contained in the periodicals and in the catalogues ofthe many encyclopaedia and in particular to draw atten- important exhibitions relating to the Impres- tion to thematic entries which might not sionistswhichhaverecentlybeenmounted. An suggestthemselvesalphabetically. Within each inevitable consequence ofthis great wealth of entry,subjectsdealtwithelsewherearegivenin material is that it is not always easy for the SMALL CAPITALS. general reader to obtain convenient access to Black and white illustrations have been information about specific individuals, themes specially selected to expand on information in orrelatedmatters,withouthavingrecoursetoa the text, with a particular emphasis on docu- varietyofbooksandperiodicals,someofwhich mentary material. Where relevant illustrations are contained only in specialized libraries. An appear under separate headings, rather than in additionalcomplicationisthefactthateven the the immediate vicinity ofa particular entry, a most exhaustive works, such asJohn Rewald's pagereferenceisgiven insquarebracketsatthe History of Impressionism, do not list in their endoftheentry.Thecolourplateson pp. 49- indices thematic subjects, such as patronage, 56and217-224havebeenchosentoilluminate politics, social background or techniques. aspects ofImpressionist painting which would Theaim oftheEncyclopaediaofImpressionism not have been revealed in black and white. istopresentaconcisecompendiumofinforma- Maps of contemporary Paris and of sites tion, based for the most part on recently connectedwithImpressionismwillbefoundon published work, relating to Impressionism, its pp. 10-12. practitioners, ancillary figures such as patrons, A comparative chronology on pp. 233-37 models,dealersandcritics,aswellastorelevant sets the movement within its general historical generalthemeswhichconcernthemovementas context, and a world gazetteer of public awhole,coveringitssocial,political,economic galleries which contain important holdings of and general historical context. Inevitably, such Impressionist works can be found on pp. 238- a work is bound to be selective, but it aims to 40; this is necessarily selective, and is to be provide an accessible introduction to Impres- complemented by reference to the subject sionismin allits aspects, as wellasa permanent entries. Acknowledgments for the illustrations source ofreference. appear on p. 240. Subject index THE SOCIAL AND POLITICAL CONTEXT cafes literature politics cafes-concert music prices Clemenceau, Georges Napoleon III railways dancing Nieuwerkerke, Comte social background France Emilien de Franco-Prussian War Paris THE ARTISTIC CONTEXT AND IMPRESSIONIST TECHNIQUE AcademieJulian Realism Japanese art Academie Suisse Salon Jongkind,Jean-Baptiste atelier system Salon des Refuses Lecoq de Boisbaudran, colour sculpture Horace critics and criticism Societe Anonyme des Millet,Jean-Francois drawing Artistes photography Ecole des Beaux-Arts Society ofFrench Artists Rousseau, Theodore flochetage technique illustration L'Union Academic painters Impressionism Besnard, Albert Impressionist exhibitions Influences Carolus-Duran, Emilc- Independants antecedents Auguste Institut de France Barbizon Cormon, Fcrnand literature Bonvin, Francois Couture, Thomas Luxembourg, Musee du Boudin, Eugene (Jerome,Jean-Leon music Chevrcul, Eugene (rervex, Henri pastels Chintrcuil, Antoinc Gleyre, Charles patrons and collectors Corot, Camille Guichard,Joseph peinture claire Courbet, Gustave Puvis de Chavannes, Pierre plein-airisme Daubigny, Francois Pointillism Delacroix, Eugene portraiture Diaz de la Peru, Narcisse Post-Impressionism Virgilc prints Guys, Constantin THE ART MARKET Patrons and collectors Gaudibert, Louis-Joachim Dealers Arosa, Gustave Gaugain, Paul-Octave, Abbe Boussod and Valadon Barnes, Alfred Havemeyer, Henry Osborne Durand-Ruel, Paul Bellio, Georges de Hecht, Albert Gogh, Theo van Berard, Paul Hoschede, Ernest and Alice Goupil, Adolphe Bruyas, Alfred Khalil Bey Hotel Drouot Charpcntier, Georges Lane, Sir Hugh Percy Joyant, Maurice Chocquet, Victor May, Ernest Latouche, Louis Davies Collection Mellon, Paul Manzi, Michel Depeaux, Felix-Francois Morozov, Mikhail and Ivan Martin, Pere Deudon, Charles Murer, Eugene Martinet, Louis Doria, Count Armand Pellerin, Auguste Petit, Georges Ephrussi, Charles Phillips Collection prices Faure,Jean-Baptiste Proust, Antonin Tanguy,Julien, Pere Flornoy, Louis Rouart, Henri Vollard, Ambroise Gachet, Dr Paul Shchukin, Sergei Gangnat, Maurice Wagram, Louis-Marie WRITERS, CRITICS AND PERIODICALS L' Artiste Gasquet,Joachim Mantz, Paul Astruc, Zacharie Gautier, Theophile Martelli, Diego Baudelaire, Charles Pierre Geffroy, Gustave Mauclair, Camille Blanc, Charles Gill, Louis-Alexandre Maus, Octave Burger, Wilhelm Goncourt, Edmond and Mirbeau, Octave Burty, Philippe Jules de Moore, George Castagnary,Jules Halevy, Ludovic Rashdall, Edward Champflcury,Jules Husson Hamerton, Philip Gilbert Riviere, Georges Charivari Houssaye, Arsene Rutter, Frank Chesneau, Ernest Huysmans,Joris-Karl Silvestre, Armand Claretie,Jules L' Impressionniste Silvestre, Theophile Daudct, Alphonse James, Henry Stevenson, R.A.M. Delvau, Alfred Lafenestre, Georges Venturi, Lionello Dewhurst, Wynford Laforgue,Jules La Vie moderne Duranty, Louis Edmond Leroy, Louis Wedmore, Sir Frederick Feneon, Felix Maccoll, D.S. Wolff, Albert Fourcaud, Louis de Mallarme, Stephane Zola, Emile
The list of books you might like
