2000, ISBN: 9780300084474

Boston, MA Houghton Mifflin: Riverside Press , 1957. Paperback First Edition USA [1957]; First Printing, so stated. The French language edition appeared in 1954. First Edition USA [1957… Mehr…

Boston, MA Houghton Mifflin: Riverside Press , 1957. Paperback First Edition USA [1957]; First Printing, so stated. The French language edition appeared in 1954. First Edition USA [1957]; First Printing, so stated. Very Good in Wraps: shows indications of careful use: the worst flaw is that the spine leans rather heavily; else vdry light wear to the extremities; faint soiling to the porous-weave paper of the wrapper covers; the binding, being sewn, remains perfectly secure; the text is clean. Free of ownership names, dates, inscriptions, marks, or labels. No longer 'As New', but remains clean, sturdy, and quite presentable. NOT a Remainder, Book-Club, or Ex-Library. 8vo. (8.8 x 5.6 x 0.8 inches). 282 pages. Translated by Dorothy and Randolph Weaver. Shipping Weight: 16.1 ounces. The French language edition appeared in 1954. Paperback. Michel George-Michel, art critic and amateur artist, has spent a lifetime haunting the studios of Paris. Here. He plays the role of Boswell - not for just one man, but for all the great French masters of the last four decades: Dégas, Toulouse-Lautrec, Renoir, Russo, Picasso, Chagall, and the rest. Some more his close friends, others he knew only casually; but in this book he brilliantly evokes the extraordinary personality of each one. This is a marvelous gallery of antidotes: racy, amusing, tragic, nostalgic and outrageous. This year. Georges-Michel was there when Utrillo and Modigliani came to blows over which of them was the greatest artist alive. He watched the keys paint - even drew pictures of the great man, himself. He was present when a despairing Faso sat in front of a blank canvas; when a triumphant Dufy completed his enormous fresco History of Science. He ate stew with Rodin and smorgasbord with Derain: youth charity to an aged La Goulue. He listened to the most famous artists in the world tear each other apart or praised each other to the skies; sympathized with their failures and rejoiced in their success. From Renoir to Picasso is illustrated with previously unpublished drawings by many of the author's celebrated friends, and with Monsieur Georges-Michel's old charming pen and ink portraits. It is a warm and revealing sidelight to the creators of modern art. , Houghton Mifflin: Riverside Press , 1957., 0, Large format paperback edition, published by Yale University Press. 240 pages, color illustrations throughout. Published to accompany the exhibit of the same name, which appeared in London at The National Gallery, Amsterdam at the van Gogh Museum, and the Clark Art Institute of Massachusetts. The focus of the exhibit was to highlight the Impressionist works that were actually painted in place, especially those that show quick actions. Many Impressionist works may have been started at the place of the subject, but were actually completed in the studio, this exhibit is of the works that were rapidly done at once, at the actual area of the subject. Included are full color reproductions of works by some of the best known masters of the period such as Manet, Sisley, Monet, Morisot, Degas, and Pissarro. This copy is not a remainder, not a library discard. No writing and no former ownership marks, shows very light usage. This will be mailed out in a sturdy box. As is the case for all of our listings, the attached photo is of the copy we have in our inventory, not stock photos., Yale University Press, 2000, 3<

2001, ISBN: 9780300084474

New Haven, CT, and Williamstown, MA: Yale University Press in association with the Sterling and Francine Clark Art Institute, 2000. 240 pages, illustrations (chiefly colour), portraits; 2… Mehr…

New Haven, CT, and Williamstown, MA: Yale University Press in association with the Sterling and Francine Clark Art Institute, 2000. 240 pages, illustrations (chiefly colour), portraits; 28 cm. Catalogue of the exhibition "Impression: Painting Quickly in France, 1860-1890", National Gallery, London, November 1, 2000 to January 28, 2001; Van Gogh Museum, Amsterdam, March 2 to May 20, 2001; and Sterling and Francine Clark Art Institute, Williamstown, Mass., June 16 to September 9, 2001. Near fine. Firm binding, clean inside copy. Age toning. OVERSIZE! No priority/air, except by special arrangement. "The 'point' of Impressionist art was to capture the fleeting moment, the transient effect, the essential reality of a certain place, person, or time. Impressionist artists worked on site with speed and directness, hoping to distinguish their works with a new freshness, immediacy, and truthfulness. Yet the paintings they exhibited were in fact almost always completed in the studio later. This beautifully illustrated book investigates for the first time the impressions, or painted sketches, that were actually done on the spot. Renowned Impressionist scholar Richard R. Brettell focuses on impressions and how they differ from the finished pictures of some of the best-known artists of the Impressionist movement, among them Manet, Monet, Renoir, Sisley, Morisot, Degas, Pissarro, and Caillebotte. The book surveys the various practices of individual artists in the making, signing, exhibiting, and selling of impressions. Brettell discusses the pictorial theories behind the sketches, the sales strategies for them, and the various forms they took, including works completed in one sitting, 'apparent' impressions, and repeated impressions. In a concluding chapter, the author considers a small group of works by Vincent van Gogh, who painted with an almost fanatical rapidity and was the only major post-Impressionist painter to push the aesthetic of the impression even further. / Richard R. Brettell is professor of aesthetic studies in the School of Arts and Humanities at the University of Texas at Dallas. His many previous books include Pissarro and Pontoise and The Impressionist and the City, both published by Yale University Press." - Publisher. CONTENTS: The Impression in 1874; Painting as performance: spontaneity and its appearances in painting, and the intellectual origins of the Impression; Edouard Manet and performative painting; Claude Monet and the development of the Impression; Berthe Morisot and Auguste Renoir: the wetness of paint and the sketch aesthetic; Alfred Sisley: the Impression, graphism, and automatic writing; Could Edgar Degas paint an Impression; Gustave Caillebotte and Camille Pissarro: Impressionists without Impressions?; Coda: was van Gogh an Impressionist?; Appendix: Laforgue's essay on Impressionism.. Paperback. Very Good. 4to. Exhibition Catalogue., Yale University Press in association with the Sterling and Francine Clark Art Institute, 2000, 3<

2001, ISBN: 9780300084474

New Haven, CT, and Williamstown, MA: Yale University Press in association with the Sterling and Francine Clark Art Institute, 2000. 240 pages, illustrations (chiefly colour), portraits; 2… Mehr…

New Haven, CT, and Williamstown, MA: Yale University Press in association with the Sterling and Francine Clark Art Institute, 2000. 240 pages, illustrations (chiefly colour), portraits; 28 cm. Catalogue of the exhibition "Impression: Painting Quickly in France, 1860-1890", National Gallery, London, November 1, 2000 to January 28, 2001; Van Gogh Museum, Amsterdam, March 2 to May 20, 2001; and Sterling and Francine Clark Art Institute, Williamstown, Mass., June 16 to September 9, 2001. Near fine. Firm binding, clean inside copy. Age toning. OVERSIZE! No priority/air, except by special arrangement. "The 'point' of Impressionist art was to capture the fleeting moment, the transient effect, the essential reality of a certain place, person, or time. Impressionist artists worked on site with speed and directness, hoping to distinguish their works with a new freshness, immediacy, and truthfulness. Yet the paintings they exhibited were in fact almost always completed in the studio later. This beautifully illustrated book investigates for the first time the impressions, or painted sketches, that were actually done on the spot. Renowned Impressionist scholar Richard R. Brettell focuses on impressions and how they differ from the finished pictures of some of the best-known artists of the Impressionist movement, among them Manet, Monet, Renoir, Sisley, Morisot, Degas, Pissarro, and Caillebotte. The book surveys the various practices of individual artists in the making, signing, exhibiting, and selling of impressions. Brettell discusses the pictorial theories behind the sketches, the sales strategies for them, and the various forms they took, including works completed in one sitting, 'apparent' impressions, and repeated impressions. In a concluding chapter, the author considers a small group of works by Vincent van Gogh, who painted with an almost fanatical rapidity and was the only major post-Impressionist painter to push the aesthetic of the impression even further. / Richard R. Brettell is professor of aesthetic studies in the School of Arts and Humanities at the University of Texas at Dallas. His many previous books include Pissarro and Pontoise and The Impressionist and the City, both published by Yale University Press." - Publisher. CONTENTS: The Impression in 1874; Painting as performance: spontaneity and its appearances in painting, and the intellectual origins of the Impression; Edouard Manet and performative painting; Claude Monet and the development of the Impression; Berthe Morisot and Auguste Renoir: the wetness of paint and the sketch aesthetic; Alfred Sisley: the Impression, graphism, and automatic writing; Could Edgar Degas paint an Impression; Gustave Caillebotte and Camille Pissarro: Impressionists without Impressions?; Coda: was van Gogh an Impressionist?; Appendix: Laforgue's essay on Impressionism.. Paperback. Very Good. 4to., Yale University Press in association with the Sterling and Francine Clark Art Institute, 2000, 3<

ISBN: 9780300084474

Paperback. Very Good., 3