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More on Pissarro's 'Four seasons'
An essay is presented that examines Camille Pissarro's cycle of the \"Four seaons.\" The four canvases were commissioned as over-doors and served decorative functions. Their provenance and past scholarship are discussed.
Journal Article
'Manet and the Post-Impressionists': a checklist of exhibits
This article aims to provide as complete a list as possible of the works exhibited in \"Manet and the Post-Impressionists\", held at the Grafton Galleries, 8 Grafton Street, London, between 8 November 1910 and 11 January 1911. The author draws on a number of sources, including various versions of the exhibition catalogue, in setting out lenders and dealers involved, and works by artists including the French artists Édouard Manet (1832-1883), Paul Cézanne (1839-1906), Paul Gauguin (1848-1903), Georges Seurat (1859-1891), and Henri Matisse (1869-1954); the Dutch artist Vincent van Gogh (1853-1890); and the Spanish artist Pablo Picasso (1881-1973). Chiefly assembled by the British art critic Roger Fry, the exhibition initially provoked a storm of abuse, while ultimately ensuring that Cézanne, Gauguin, Van Gogh, Matisse, Picasso, and to some extent Seurat were installed as major Modernist figures in the eyes of the English-speaking art world. (Quotes from original text)
Journal Article
Impressionism and post-impressionism : highlights from the Philadelphia Museum of Art
\"With two hundred Câezannes, twenty-three Monets, and more than fifty Renoirs, the Philadelphia Museum of Art's Impressionist and Post-Impressionist collection is one of the most significant in the country. This publication--the first by the museum dedicated to these popular works--provides stunning images and engaging entries on more than seventy-five highlights from the collection, including Paul Câezanne's The Large Bathers, Edgar Degas's Little Dancer, Aged Fourteen, Vincent van Gogh's Sunflowers, Claude Monet's Japanese Bridge and Waterlily Pond, Henri de Toulouse-Lautrec's Moulin Rouge, and Pierre-Auguste Renoir's Large Bathers. Paintings, sculpture, and drawings by figures such as Mary Cassatt, Georges Seurat, âEouard Manet, Camille Pissarro, Alfred Sisley, Berthe Morisot, and Auguste Rodin are presented together, providing a rich and encompassing view of these artists and the innovative works they created across mediums\"-- Provided by publisher.
Book
The Van Goghs at the Grafton Galleries
This article discusses the representation of the Dutch artist Vincent van Gogh (1853-1890) in the exhibition \"Manet and the Post-Impressionists\" at the Grafton Galleries, London in 1910-11. It publishes several letters, most previously unpublished, between the dramatic critic and journalist Desmond MacCarthy, who was appointed by the art critic Roger Fry to handle the detailed arrangements over loans to the exhibition, and Jo Bonger, widow of Vincent's brother Theo, which provide insight into how the exhibition was organised and the public reaction. Van Gogh was represented by around 30 works, which tended to be singled out by hostile critics as being the most outrageous in the exhibition; it was in large part owing to his work's presence at the Grafton Galleries, however, that Van Gogh was soon to become, along with the French artist Paul Gauguin (1848-1903), one of the most famous of the Post-Impressionists. (Quotes from original text)
Journal Article
Thannhauser Collection : French Modernism at the Guggenheim
\"When Justin K. Thannhauser (1892-1976) brought his collection of modern art to the Solomon R. Guggenheim Museum in 1965, it was his crowning achievement after more than a half-century as one of Europe's most influential and distinguished collectors and dealers. The collection's formal bequeathal to the Guggenheim in 1978 represents a watershed moment for the museum--today its Thannhauser Collection constitutes the core of the Guggenheim's impressionist, postimpressionist, and School of Paris holdings, including 32 works by Pablo Picasso. This volume presents the astonishing collection in full, offering a concentrated survey of works by such modern masters as Braque, Câezanne, Degas, Gauguin, Manet, Picasso, Pissarro and Van Gogh, among others. Throughout, artworks are given rich context and detail with historical installation views and high-tech conservation images. Short essays on collection highlights by current and former Guggenheim curators and conservators illuminate the artists' stylistic innovations as they sought to liberate art from academic genres and techniques. The book also features extensive technical analyses, offering rare insight into the artists' materials and processes based on the latest advances in conservation technology. A lead essay by Megan Fontanella recounts the genesis of Thannhauser's collection and its eventual transfer to the Guggenheim Museum. Tracing his ambitious career as gallerist and collector in Europe during the interwar years and into the calamity of World War II, she explores how Thannhauser's lifelong support for experimental art and eye for original talent helped define the modernist vanguard of 20th-century art\"-- Publisher's description.
Book
Turner's Titles
The reproduction and dissemination of images in the modern era have made painting peculiarly dependent on words: pictures have titles, and artists are compelled to supply them—even when they defiantly respond with variations on “Untitled.” Rather than resist the need to label, J. M. W. Turner deliberately exploited it. Turner believed strongly in the affinity of poetry and painting and often titled his pictures after classical or historical sources. Yet the same titles also betray an impulse to obscure the link between word and image and thus to drive the viewer back—in partial bafflement—to the visual experience of the painting itself. This consciousness of how titles shape the reception of his pictures makes Turner an exemplary modern artist.
Journal Article
