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While Impressionism marked the first steps toward modern painting by revolutionising an artistic medium stifled by academic conventions, Post-Impressionism, even more revolutionary, completely liberated colour and opened it to new, unknown horizons. Anchored in his epoch, relying on the new chromatic studies of Michel EugSne Chevreul, Georges Seurat transcribed the chemist's theory of colours into tiny points that created an entire image. With his heavy strokes, Van Gogh illustrated the midday sun, while C'zanne renounced perspective. Rich in its variety and in the singularity of its artists, Post-Impressionism was a passage taken by all the well-known figures of 20th century painting - it is here presented, for the great pleasure of the reader, by Nathalia Brodska

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This book presents new research on the histories and legacies of the German Expressionist group Blaue Reiter, the founding force behind modernist abstraction. For the first time Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

An exploration of Francophone African literary imaginations and expressions through the lens of Afrofuturism Generally attributed to the Western imagination, science fiction is a literary genre that has expressed projected technological progress since the Industrial Revolution. However, certain fantastical elements in African literary expressions lend themselves to science fiction interpretations, both utopian and dystopian. When the concept of science is divorced from its Western, rationalist, materialist, positivist underpinnings, science fiction represents a broad imaginative space that supersedes the limits of this world. Whether it be on the moon, under the sea, or elsewhere within the imaginative universe, Afrofuturist readings of select films, novels, short stories, plays, and poems reveal a similarly emancipatory African future that is firmly rooted in its own cultural mythologies, cosmologies, and philosophies.Isaac Joslin identifies the contours and modalities of a speculative, futurist science fiction rooted in the sociocultural and geopolitical context of continental African imaginaries. Constructing an arc that begins with gender identity and cultural plurality as the bases for an inherently multicultural society, this project traces the essential role of language and narrativity in processing traumas that stem from the violence of colonial and neocolonial interventions in African societies.Joslin then outlines the influential role of discursive media that construct divisions and create illusions about societal success, belonging, and exclusion, while also identifying alternative critical existential mythologies that promote commonality and social solidarity. The trajectory proceeds with a critical analysis of the role of education in affirming collective identity in the era of globalization; the book also assesses the market-driven violence that undermines efforts to instill and promote cultural and social autonomy.Last, this work proposes an egalitarian and ecological ethos of communal engagement with and respect for the diversity of the human and natural worlds.

In the first decades of the 20th century, Roger Fry exhibited Old Master paintings and copies at the Omega Workshops in London, England. The painter and critic received mixed reception, especially since the Omega Workshops was known for the Bloomsbury artists and their modern aesthetic. This dichotomy is considered, with a look at the artists interests in copying Old Master paintings. It focuses on the Exhibition of copies and translations held by Fry in 1917.

Claude Monet (1840-1926) is one of the most admired and famous painters of all time, and the architect of Impressionism: a revolution that gave birth to modern art. His technique - painting out of doors, at the seashore or in the city streets - was as radically new as his subject matter, the landscapes and middle-class pastimes of a newly industrialized Paris. Painting with an unprecedented immediacy and authenticity, Monet claimed that his work was something new: both natural and true. In this new introductory study, James H. Rubin - one of the world's foremost specialists in 19th-century French art - traces the development of Monet's practice, from his early work as a caricaturist to the late paintings of waterlilies and his garden at Giverny. Rubin explores the cultural currents that helped to shape Monet's work: the utopian thought that gave rise to his politics; his interest in Japanese prints, gardening, and trends in the decorative arts; and his relationship with earlier French landscape painters as well as such contemporaries as Manet and Renoir.

In Consuming Painting , Allison Deutsch challenges the pervasive view that Impressionism was above all about visual experience. Focusing on the language of food and consumption as they were used by such prominent critics as Baudelaire and Zola, she writes new histories for familiar works by Manet, Monet, Caillebotte, and Pissarro and creates fresh possibilities for experiencing and interpreting them. Examining the culinary metaphors that the most influential critics used to express their attraction or disgust toward painting, Deutsch rethinks French modern-life painting in relation to the visceral reactions that these works evoked in their earliest publics. Writers posed viewing as analogous to ingestion and used comparisons to food to describe the appearance of paint and the painter's process. The food metaphors they chose were aligned with specific female types, such as red meat for sexualized female flesh, confections for fashionably made-up women, and hearty vegetables for agricultural laborers. These culinary figures of speech, Deutsch argues, provide important insights into both the fabrication of the feminine and the construction of masculinity in nineteenth-century France. Consuming Painting exposes the social politics at stake in the deeply gendered metaphors of sense and sensation. Original and convincing, Consuming Painting upends traditional narratives of the sensory reception of modern painting. This trailblazing book is essential reading for specialists in nineteenth-century art and criticism, gender studies, and modernism.

The 21 st century's first major academic reassessment of Impressionism, providing a new generation of scholars with a comprehensive view of critical conversations Presenting an expansive view of the study of Impressionism, this extraordinary volume breaks new thematic ground while also reconsidering established questions surrounding the definition, chronology, and membership of the Impressionist movement. In 34 original essays from established and emerging scholars, this collection considers a diverse range of developing topics and offers new critical approaches to the interpretation of Impressionist art. Focusing on the 1860s to 1890s, this Companion explores artists who are well-represented in Impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism's global predominance at the turn of the 20 th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, and the movement's exhibition and reception history. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important new addition to scholarship in this field: * Reevaluates the origins, chronology, and critical reception of French Impressionism * Discusses Impressionism's account of modern identity in the contexts of race, nationality, gender, and sexuality * Explores the global reach and influence of Impressionism in Europe, the Middle East, East Asia, North Africa, and the Americas * Considers Impressionism's relationship to the emergence of film and photography in the 19th century * Considers Impressionism's representation of the private sphere as compared to its depictions of public issues such as empire, finance, and environmental change * Addresses the Impressionist market and clientele, period criticism, and exhibition displays from the late 19th century to the middle of the 20th century * Features original essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and Argentina The Wiley Blackwell Companion to Impressionism is an invaluable text for students and academics studying Impressionism and late 19 th century European art, Post-Impressionism, modern art, and modern French cultural history.

Impressionism is the most popular art movement among museum-goers. But that which may now seem delightful and rather inoffensive landscape painting was in truth one of the first avant-garde movements, whose members decided to act as a group in order to more effectively combat traditional art values. The Impressionist's plein airpaintings shocked the public for their technique as much as for their apparent banality. But while Monet, Sisley, Pissarro, and others sought to capture light's fleeting nature, the following generation would go on to reject naturalism. Post-Impressionists such as Gauguin, Van Gogh, Cezanne, and Seurat would favour the subjective over the objective, the timeless over the concrete. In so doing, they paved the formal grounds on which 20th century modern art would grow. This Essential volume is a visual guide through these crucial moments in art history and of the 19th century's unrelenting advance towards modernity.

The Post-Impressionist period was one of solitary painters, Gauguin, Sisley, Cézanne, Van Gogh etc… “There is no longer a unique school. There are a few groups, but even they break up constantly. All these movements remind me of moving geometrical pieces in a kaleidoscope, which separate suddenly only to better come together again. They move apart then get together, but, nevertheless, stay in the same circle – the circle of the new art.” (Emile Verhaeren). Nathalia Brodskaïa, curator at the State Hermitage Museum, describes with her own unsurpassed talent the different paths taken by the heirs of Impressionism towards Modern Art.