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Brushwork Revolution. The neglected champions of Impressionism

It was a dappled and daubed harbour scene that gave Impressionism its name. When Impression, Sunrise by Claude Monet was exhibited in April 1874, critics seized upon the work’s title and its loose stylistic rendering of light and motion upon water to deride this new, impressionistic tendency in art.

As with many seminal art movements, the critics got their comeuppance. Today, Impressionism is close contender for the world’s favourite period of painting. With blockbuster exhibitions, record-breaking auction prices, and packed museums, the works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas.

Despite its popularity and a whole host of publications, many areas and artists of Impressionism remain inadequately researched. This TASCHEN book fills the gap, raising the profile of unjustly neglected pioneers such as Berthe Morisot, Lucien Pissarro, and Gustave Caillebotte, while exploring the characteristics of Impressionism, from painting en plein air to vivid colour contrasts, not only in the movement’s native France but also across the rest of Europe and North America.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

The editor:

Ingo F. Walther (1940–2007) was born in Berlin and studied medieval studies, literature, and art history in Frankfurt am Main and Munich. He published numerous books on the art of the Middle Ages and of the 19th and 20th centuries. Walther’s many titles for TASCHEN include Vincent van Gogh, Pablo Picasso, Art of the 20th Century, and Codices illustres.

Discover how scenes of daily life and delicate dabs of colour shocked the art world establishment.

In this TASCHEN Basic Art introduction to Impressionism, we explore the artists, subjects, and techniques that first brought the easel out of the studio and shifted artistic attention from history, religion, or portraiture to the evanescent ebb and flow of modern life.

As we tour the theaters, bars, and parks of Paris and beyond, we take in the movement’s radical innovations in style and subject, from the principle of plein air painting to the rapid, broken brushwork that allowed the Impressionists to emphasize spontaneity, movement, and the changing qualities of light. We take a close look at their unusual new perspectives and their fresh palette of pure, unblended colours, including many vividly bright shades that brought a whole new level of chromatic intensity to the canvas.

Along the way, we recognize Impressionism’s established greats, such as Edgar Degas, Claude Monet, Berthe Morisot, and Camille Pissarro, as well as many associated artists worthy of closer attention, including Marie Bracquemond, Medardo Rosso, and Fritz von Uhde.

About the series:

Each book in TASCHEN's Basic Genre series features:

- approximately 100 colour illustrations with explanatory captions
- a detailed illustrated introduction plus a timeline of the most important political, cultural and social events that took place during that period
- a selection of the most important works of the epoch, each of which is presented on a 2-page spread with a full-page image and with an interpretation of
the respective work, plus a portrait and brief biography of the artist

Impression… who better than Monet in 1867, could have defined what was to become the most well-known and beloved pictorial movement? Nevertheless, it took more than thirty years for these artists (Manet, Monet, Pissarro, Renoir…) to be accepted and acknowleged by their contemporaries. Impressionism was the first step towards modern painting, and it revolutionned an artistic background suffocated by academic norms.
Taking the Impressionistic revolution even further, Post-impressionism was to completely liberate the colour and revealed unknown horizons (with Seurat, Van Gogh, Cézanne,…) which became unmissable passages for the greatest names of 20th century painting (Picasso, Matisse, Kandinsky…)

You will rediscover, along the pages of this book, the freshness, the colours and the quality of these timeless masterworks.

This 2-volume monograph covers the full scope of Impressionist painting. It outlines the history of Impressionism in France, addressing not only the work of the acknowledged masters, but also that of such unjustly neglected artists as Frédéric Bazille, Gustave Caillebotte, Berthe Morisot or Lucien Pissarro. The second volume examines the Impressionist movements that emerged in the Netherlands, Belgium, Germany, Scandinavia, Eastern and South-East Europe, Italy, Spain, Britain and North America. A 64-page "Directory of Impressionism" is appended, containing bibliographies, portraits and biographical data on all 236 artists.

Посмотреть русскоязычное издпние книги  Impressionism, 2 vol - Импрессионизм. В 2-х томах

Reflecting the most recent research on this groundbreaking artistic movement, this lavishly illustrated and comprehensive book examines Impressionism on a global scale, from its iconic French masterpieces to less familiar works by Scandinavian, German, British, and North American artists.

One of the art world’s most recognizable and popular styles, Impressionism is also one of the most complexes. In this sumptuous overview Norbert Wolf lends his attention to all aspects of Impressionism: its historical precursors, contemporary rivals, and the movements it inspired. Over 200 large-format reproductions of entire works and highlighted details introduce readers to the Impressionists’ aesthetics and techniques. Wolf draws insightful parallels between these paintings and other contemporary works of music, photography, and literature. Tracing the movement’s expansion from France to the rest of Europe and North America, this volume shines a spotlight on the main protagonists who were key in the development of Impressionism. It highlights not only the French pioneers — Claude Monet, Gustave Caillebotte, Édouard Manet, Pierre-Auguste Renoir, Camille Pissarro, and others — but also Max Liebermann, Lovis Corinth, John Singer Sargent, Mary Cassatt, William Merritt Chase, and James McNeill Whistler, to name a few. As luxurious as it is authoritative, this wide-ranging investigation of a moment in art history reveals works and ideas that will surprise even the most seasoned aficionado.

About the Author:

Norbert Wolf is an art historian and author based in Munich. He has published several books with Prestel, including Art Nouveau, Art Deco, Impressionism, and "The Golden Age of Dutch and Flemish Painting", as well as monographs on Albrecht Dürer and Titian.

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Пролистать книгу Impressionism. Reimagining Art на сайте издательства.

Impressionists in their Gardens explores gardens through the senses of the Impressionists from three continents - Europe, North America and Australia - enjoying the essentially similar pleasures of the garden, but engaging with the light from their skies in order to create very different sensations. The enclosure of the garden acts like a picture frame showcasing a living canvas that exudes the individuality, vision and taste of its tenants, their family, friends, lifestyles and, in the simple words of the greatest Impressionist and gardener Monet, providing motifs to paint.

The first section uses contemporary paintings and photographs to see the who, what and where of Impressionist gardens - planting, eating, loving, sleeping, children, animals, working and painting. The second section, illustrated with paintings, old photographs and modern images, starts at the horticultural source - the nurseryman Latour-Marliac at Temple sur Lot, then Monet at Giverny; American Impressionists at Old Lyme, Cos Cob and Appledore in the USA; Gertrude Jekyll at Munstead Wood and beyond; the Heidelburg School and Frederick McCubbin at Fontainebleau; and, chronologically last but not least, Renoir at Les Colettes.

- Lavishly illustrated, this publication includes photographs of how these gardens are now
- Impressionists in their Gardens covers the entire impressionist movement
- Features information on how the fashionable plants that were used, were both discovered and cultivated
- Perfect for gardeners and horticultural experts as well as anyone interested in gardening, history and art

Bringing to life the gorgeous, inspiring art of Monet, Manet, Renoir, Pissarro and their group, Impressionists takes the reader back to Nineteenth-Century Paris to explore one of the most influential, and popular art movements in the history of painting. A careful selection of the period's most enduring artworks sits alongside some lesser-known, but equally impressive images to convey the spirit and passion of the era.

A visual exploration of the Impressionists’ love affair with the new thinking about garden design that swept 19th-century France

From Manet's earliest depictions of the Tuileries Gardens in Paris to Monet's late waterlilies painted at Giverny, the Impressionists' love affair with gardens has left an exhilarating legacy. As places of rest, relaxtion, beauty and leisure, indeed, they were the Impressionist subject par excellence, offering all the evanescent beauty of colour and light that these artists loved. But what meanings might lie underneath the surface of their works?

This book explores the Impressionist's fascination with gardens, parks and flowers in the context of the 'great horticultural movement' and of the changing political and cultural landscape in France. Drawing on sources such as gardening journals, well-known novels by Zola and Flaubert, poetry by Baudelaire, and the artists' personal letters, it describes how gardens were central to the Impressionists' discovery of their distinctive plein-air (out-of-doors) style, and how they influenced the artists as spaces which were at the same time both 'modern' and imbued with nostalgia. It also brings to life the enchanting tradition of floral symbolism in 19th-century France, and explores - for the first time ever - how this infiltrated the work of key Impressionists such as Monet. A final chapter covers the spread of Impressionist garden painting outside France, exploring the exciting developments in Britain, Germany, North America and Japan.

With its new discoveries about familiar works by Manet, Renoir, Degas, Monet and Pissarro, thorough coverage of less familiar Impressionists such as Bazille, Caillebotte and Guillaumin, and spectacular illustrations, including period photographs, engravings from journals and cartoons, as well as paintings and drawings, this book will appeal equally to the scholar, student, art lover or gardening enthusiast.

Contents List:
1. Flowers of Tradition
2. Horticulture and Pleinairisme
3. Private Gardens in Early Impressionism
4. Painting the Parisian ‘Bouquet’
5. Sunshine, Shadows and Sanctuary
6. The Social Garden
7. The Working Garden
8. Cultivating Inspiration
9. The Impressionist Garden Beyond France

Isaak Levitan (1860-1900) was born into a poor Jewish family in Lithuania and was able to enrol at the Moscow School of Painting in 1873. He made rapid progress, the great merchant collector Pavel Tretyakov buying one of his paintings when he was only nineteen. In 1886 Levitan sketched in the Crimea and from 1887 he spent several summers painting in the Volga region. These years saw the development of his great friendship with the future playwright Anton Chekhov and the creation of his first 'mood landscapes'. Levitan travelled extensively, if briefly, in Europe, visiting Berlin, Paris, the Riviera, Italy, Switzerland, Munich and Vienna. He was thus, unlike many of his contemporaries, well aware of artistic trends in the west, his experience of European art adding to the breadth of his vision. In both his joyful commemorations of the Russian spring and his quiet scenes of fields and forests, lakes and rivers, often seen at twilight, Levitan employed simple, well-loved motifs of the Russian countryside, an expressive brushwork and a subtle tonality. His work was greatly admired by Diaghilev, the revolutionary theatre manager Stanislavsky and the great operatic singer Chaliapin. Towards the end of his short life Levitan, exhibiting with the Wanderers (the Russian association for travelling exhibitions) and the Munich Secession, was responsible for revitalising the teaching of landscape in Moscow. This revised edition of the author's Isaak Levitan Lyrical Landscape (2004 and 2006), also focuses on Levitan's still lifes, portraits and cityscapes. The creative thinking behind some of his most outstanding works is explored and certain parallels are drawn with the landscapes of Monet, who, while Levitan painted on the shores of the Volga, lived and worked near the river Seine. AUTHOR: Averil King is an independent art historian with a particular interest in the art of the late nineteenth and early twentieth centuries. Her previously published books are Isaak Levitan Lyrical Landscape, 2004, re-issued 2006, Newlyn Flowers: the Floral Art of Dod Procter, RA, 2005 (both Philip Wilson Publishers), and Paula Modersohn-Becker, 2009 (Antique Collectors' Club).

The delicate splendour and fairytale beauty of Islamic art

The art which arose from the 7th century in the Islamic empires reached from Spain and Morocco to the borders of China. It bore the stamp above all of Arabs, Persians and Turks, but outstanding contributions also came from Egypt and India. "Islamic Art" presents prominent examples: luxury ceramics, prayer mats, goldsmithery, as well as witnesses to the decorative arts and calligraphy – and above all the masterpieces of the splendidly colourful courtly book illumination of Persia and the Mughal emperors of India. The book examines the contributions of the different countries and how they influenced each other, and in this way vividly illustrates the unfolding of the delicate splendour and fairytale beauty of Islamic art from its beginnings into the modern era.

About the Series:
Each book in TASCHEN's Basic Genre Series features:

• a detailed illustrated introduction plus a timeline of the most important political, cultural and social events that took place during that period
• a selection of the most important works of the epoch, each of which is presented on a 2-page spread with a full-page image and with an interpretation of the respective work, plus a portrait and brief biography of the artist
• approximately 100 colour illustrations with explanatory captions

The author:
Annette Hagedorn studied the history of oriental art, German literature, and art history at the universities of Bonn and Mainz. She has held part-time teaching posts at the universities of Bonn, Mainz and Utrecht. In 1991 she was awarded the Alice-Boner-Memorial Prize from the Alice Boner Foundation in Zurich for her dissertation on Islamic metalwork in the 13th and 14th centuries. Since 2000 she has been co-editor, responsible for art history and archaeology, of the journal Zeitschrift der Deutschen Morgenländischen Gesellschaft.

Italian Frescoes: The Age of Giotto presents twenty-two outstanding fresco cycles. Created during the late thirteenth and early fourteenth centuries, these cycles set new standards for painting and an innovative vision of man, paving the way for the monumental achievements of the Renaissance. It was at this time that fresco painting was not only commissioned for churches and chapels, but also for such secular places as town halls and royal residences with humanist in addition to religious themes. The fresco cycles featured here include brilliant works by Giotto in Assisi, Padua, and Florence; dramatic paintings by Cimabue, thought to be Giotto’s teacher; Pietro Cavillini in Rome; and the Sienese artists Simone Martini and Pietro and Ambrogio Lorenzetti — all of these works still visible on walls and ceilings of palaces and churches spanning Italy from the Veneto to Rome.

The authors describe and illustrate such celebrated sites as the Church of Saint Francis in Assisi, the Chapel of the Scrovegni in Padua, the Public Palace in Siena, and the papal chapel, the Sancta Sanctorum, in Rome. Each of the twenty-two chapters is concise and authoritative, offering a descriptive and interpretive essay on all aspects of fresco painting, covering the artists and their patrons in the context of their cultural and political history. Each essay concludes with a diagram of the site, followed by a series of full- and double-page color plates showing the entire cycle, many reproduced from new photographs of recently restored frescoes.

No publisher until now has attempted to gather together and document all the important fresco cycles of Italian art from the late thirteenth to the seventeenth centuries. While this volume is the predecessor to the previous books, Italian Frescoes: The Age of Giotto easily stands alone as a masterpiece of art and scholarship which will be welcomed by art historians and art lovers alike.

Italian Frescoes: The Baroque Era features twenty-five fresco cycles, each representing a notable achievement in the history of art. The fresco cycles presented include brilliant works by Domenichino, Sebastiano Ricci, Guercino, and Tiepolo — all of them still visible on walls and ceilings of palaces and churches spanning Italy from Venice to Naples.

The authors present such celebrated sites as the Barberini Palace in Rome and the Pitti Palace in Florence, as well as lesser-known gems. Each of the chapters is concise and authoritative, offering a descriptive and interpretive essay on all aspects of the fresco cycle, covering the artists and their patrons in the context of their cultural and political history. Each essay concludes with a diagram of the site, followed by a series of full- and double-page color plates showing the entire cycle, many reproduced from new photographs of recently restored frescoes.

No publisher until now has attempted to gather together and document all the important fresco cycles of Italian art from the late thirteenth to the eighteenth century. While this volume is a continuation of the previous books, Italian Frescoes: The Baroque Era certainly stands alone as an incredible treasury of art and scholarship that will be eagerly collected by art historians and art lovers alike.

Certain Italian fresco cycles, notably the Brancacci Chapel in Florence by Masaccio, Masolino, and Filippino Lippi, are well known. Others, such as Piero della Francescas work in Arezzo and Benozzo Gozzolis Chapel of the Magi in Florence, have been reproduced countless times. Yet no publisher — until now — has attempted to gather together and document in extensive photographs the essential fresco cycles of the early Italian Renaissance. The list of works covers the regions of Italy, from the Alpine mountain areas to Puglia, with an emphasis on Tuscany and Florence, the artistic center that gave life to the Renaissance.

Italian Frescoes: The Early Renaissance opens with a concise introductory text discussing various aspects of fifteenth-century fresco painting: artists, patronage, cultural and historical conditions, technical methods, and questions of local tradition. The central section of the book examines twenty-one fresco cycles, each representing a crowning achievement in this field. A descriptive and interpretive essay introduces each cycle and is followed by a series of full-page and double-page color plates-many of them new photography of recently restored frescoes-covering the entire work. This parade of colorful masterpieces, paired with Steffi Roettgens authoritative text, makes a brilliant volume that will be treasured by scholars and art lovers alike.

The artists of the renaissance were the first to use the term "Gothic", clearly intended in a derogatory way in reference to the style initialy known as opus francigenum, meaning "made in French style": the term was used as a synonymum for "barbarian" by those who considered themselves to be the upholders of the aesthetic and technical perfection of the classical era.

In December 2003 the painter Jack Vettriano, a coalminer's son, met his parents off the train from Scotland on his way to collect an OBE. Over the last few years Vettriano has had a meteoric rise to fame -- emerging from the unlikely background of the Scottish coalfields, unknown and untutored, he has become Scotland's most successful and controversial contemporary artist. Appearing on posters and cards, mugs and umbrellas, prints of his work outsell Van Gogh, Dali and Monet and his paintings have been acquired by celebrities around the world.

'The Singing Butler', Britain's most reproduced painting, fetched a record GBP744,800 at auction on April 2004.

Vettriano's images have an often mysterious narrative and are a gateway to an alluring yet sinister world. Daylight scenes of heady optimism, painted against backdrops of beaches and racetracks, are counterbalanced by more disquieting canvases of complex night-time liaisons in bars and clubs, bedrooms and ballrooms. Both sexes are clearly styled -- the men hard-edged and mysterious, the women seductive and enigmatic. Yet beneath the confident posturing, Vettriano recognizes our inherent human frailty, that there is no victor in the struggle between duplicity and desire. Men and women are ultimately trapped by the machinations of intense love and passion with little control over their destiny.

'Jack Vettriano: A Life' presents about thirty new images, as well as some recently surfaced works, plus the best of the paintings previously published in 'Lovers and Other Strangers' and 'Fallen Angels', also by Pavilion.