The impressionist print / Michel Melot ; translated from the French by Caroline Beamish.
Language: English Publication details: New Haven : Yale University Press, 1996. Description: 296 p. : ill. (some col.) ; 32 cmISBN: 0300067925Uniform titles: Estampe impressionniste. English. Subject(s): Prints, French -- 19th century | Impressionism (Art) -- France | Art and society. -- History -- 19th century. -- FranceLOC classification: NE 647.6 .I4 M4413 1996| Item type | Current library | Call number | Status | Date due | Barcode |
|---|---|---|---|---|---|
| Books | Vitali Hakko Kreatif Endüstriler Kütüphanesi | NE 647.6 .I4 M4413 1996 | Not for loan | 007323 |
Includes bibliographical references (p. 288-292) and index.
Pt. 1. On the eve, 1850-70. Introduction ; The impetus of industry ; The persistence of the print ; A painter between two worlds: Charles-François Daubigny ; Mechanical reproduction ; 1850-2: Delâtre and Meryon ; 1852-7: Bracquemond, Millet, Legros ; Whistler and Seymour Haden ; Degas's self portrait ; 1859: the new art market ; 1861: the Society of Etchers ; Manet and the etching ; 1862: the artist's lithograph ; Manet and the lithographer ; 1863: the Salon des Refusés ; Jongkind ; Appian and the School of Lyon ; Constantin Guys ; The eleventh subscriber ; The discovery of Japan -- Pt. 2. Day and night. War and revolution ; 1873: the Anvers Group ; The revival of the artist's lithograph ; 1874: the first Impressionist exhibition ; Henri Guérard ; Lepic and the Mobile Etching ; Desboutin and De Nittis ; Félix Buhot and 'La belle épreuve' ; Modern book-collecting ; Degas and his group ; Le Jour et la Nuit ; Pissarro and Degas: industrial progress ; The confection of rarity ; The value of the times ; The obliteration of the object ; Scenes from private life ; 1888: revival ; Whistler's Venetian suite ; 1883: the rôle of the rebels ; 1886: the last Impressionist exhibition -- Pt. 3. The next day, 1886-1900. After Impressionism ; 1889: the Society of Painter-Printmakers ; Rodin ; Sisley ; Berthe Morisot ; Renoir ; Degas's Women in the bath ; Mary Cassatt ; The arrival of colour ; The monotypes of Degas ; Other monotype artists: Pissarro and Gauguin ; Gauguin and Primitivism ; Van Gogh ; Toulouse-Lautrec ; Pissarro's Bathers ; The success of the original print ; Vollard and the Impressionists ; The vogue for colour lithography ; Forain, the last Impressionist ; Conclusion.
A print can sometimes tell us more than a painting about the history of art. Michel Melot illustrates his thesis in this book, analysing relationships between artists, the art market, the critics, collectors and political institutions. This fresh approach reveals Impressionism not as a sort of miracle, but as a response to economic and social upheaval.