Gustav Klimt • 740 imágenes / 740 images, jpg

 

 

 

Afiches "Salon des Cent", jpg

Entre 1889 y 1914, aparece, a instancias del escritor Léon Deschamps, una revista bautizada La Pluma (La Plume), destinada a promover la vida cultural contemporánea. Fue un vector determinante de la propagación de las ideas de finales del siglo XIX, publica poemas, noticias, críticas y defiende la vanguardia de aquel entonces. A partir de 1894, su director organiza exposiciones, en el vestíbulo del periódico, rue Bonaparte 31, en París, invitando a 100 artistas a exponer allí. Anunciadas por afiches, a veces firmados por artistas célebres, Mucha, Toulouse-Lautrec, Bonnard, Grasset, Rops, Ensor, siendo estas exposiciones una demostración cabal de dinamismo creativo de la época.

 

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Automatic translation:Between 1889 and 1914, appears at the request of the writer Leon Deschamps, a magazine baptized the Plume (La Plume), destined to promote the contemporary cultural life. It was a determinant vector of the propagation of the ideas of the end of century XIX, publishes poems, news, critics and defends the vanguard of that then. From 1894, its director organizes exhibitions, in the lobby of the  newspaper, rue Bonaparte 31, in Paris, inviting 100 artists to exhibit there. Announced by posters, sometimes signed by famous artists, Mucha, Toulouse-Lautrec, Bonnard, Grasset, Rops, Ensor, these exhibitions are a complete demonstration of creative dynamism of the time.

Umberto Boccioni • MET

 

 

Umberto Boccioni (1882–1916) is a model of the spirit and flavor of Futurism—militant, exuberant, actively taking part in the social and political events of the turbulent times in which he lived. His manifestos and his powerfully sensuous visualizations exemplify the nature and the pertinence of the Futurist contribution to modern art. Along with F. T. Marinetti, Giacomo Balla, Carlo Carra, Luigi Russolo, and Gino Severini, Boccioni played a leading role in the development and practice of Futurist ideas and art. During his brief life he made seminal contributions through his writings, paintings, sculptures, drawings, and engravings.

Futurism burst forth with impassioned energy in Italy during the years immediately preceding World War I. Rejecting past idealism and scorning contemporary culture and society, the proponents of this major art movement shaped a forceful and revolutionary rhetoric that became the basis for their dynamic art, which conveys the frenetic and colorful motions of urban life. Throughout the course of the twentieth century, Futurism has been largely dismissed in favor of the Cubism concurrently developed in Paris. Yet the Futurist concepts set forth as early as 1910 have been of consequence in many areas of subsequent avant-garde art, both for their championing of the anti-past, pro-technological present and for the resulting art that injects Cubist formal elements with a lively, worldly, urban content.

This publication presents an overview of Boccioni's unique accomplishments; it includes both a comprehensive survey of his art and of his writings, a number of which appear here for the first time in English. It documents the first retrospective exhibition of Boccioni's art in the United States. The American audience at last has the opportunity to assess Boccioni's place in the history of twentieth-century art. His fields of whirling action demonstrate that the period standardly termed the Cubist epoch could, with equal justice, be termed the Futurist era, in acknowledgment of the vanguard movement in Italy.

 

American Impressionism and Realism The Painting of Modern Life 1885 1915 • MET

"A true historical painter ... is one who paints the life he sees about him, and so makes a record of his own epoch." This principle, voiced by the Impressionist Childe Hassam, was heeded by the artists whose contributions are the focus of this volume: the American Impressionists and the Realists of the generation that succeeded them. The authors of the book, which accompanies a major exhibition, illuminate the continuities and differences between American Impressionism and Realism, two movements that are traditionally viewed as merely opposed.

They explore the roots of American Impressionism in European art, especially in the French Impressionists' engagement with the contemporary scene. Also elucidated are the evolving responses of both the American Impressionists and Realists to the changing realities of life in the United States at the turn of the century, as the nation shifted rapidly from an agrarian to an increasingly industrialized urban society. In an examination of paintings that represent the country, the city, and the home - the triad of subjects that engaged the artists - these responses are shown to reflect a tension between enthusiasm for the new and a sense of loss of the rural past. Studying a wide range of painters, including John Singer Sargent, William Merritt Chase, Childe Hassam, John Sloan, William Glackens, and George Bellows, the authors offer new insights into the threads of nationalism, optimism, euphemism, and nostalgia that link the two movements. They demonstrate that these painters of modern life endowed their European-rooted art with a distinctly American inflection and produced a selective register of an energetic nation, revealing a complex commitment to Robert Henri's assertion that "painting is the giving of evidence."

The volume brings a new approach to this area of American art history, which has tended to be more descriptive than interpretive: it offers detailed historical and social contexts for the works and movements under consideration as well as penetrating stylistic analyses. Lavish illustrations of the paintings in the exhibition, comparative works and period photographs, a biography of each of the twenty-six artists in the exhibition, a selected bibliography, and an index are included.

The Work of Artː Plein Air Painting and Artistic Identity in Nineteenth-Century France

In The Work of Art, Anthea Callen analyzes the self-portraits, portraits of fellow artists, photographs, prints, and studio images of prominent nineteenth-century French Impressionist painters, exploring the emergence of modern artistic identity and its relation to the idea of creative work. Landscape painting in general, she argues, and the “plein air” oil sketch in particular were the key drivers of change in artistic practice in the nineteenth century―leading to the Impressionist revolution.

         

Putting the work of artists from Courbet and Cézanne to Pissaro under a microscope, Callen examines modes of self-representation and painting methods, paying particular attention to the painters’ touch and mark-making. Using innovative methods of analysis, she provides new and intriguing ways of understanding material practice within its historical moment and the cultural meanings it generates. Richly illustrated with 180 color and black-and-white images, The Work of Art offers fresh insights into the development of avant-garde French painting and the concept of the modern artist.

Camille Pissarro by Klaus H. Karl

Camille Pissarro was a pivotal figure of Impressionism, perhaps the world’s most famous art movement. He also tackled different forms of Neoimpressionism, while maintaining very personal characteristics in his art all throughout his life. A key figure in the Impressionist movement and a participant in every one of their exhibitions, Camille Pissarro (1830-1903) was considered the patriarch of the group. Born in the Danish West Indies, he travelled to Venezuela, and studied with Corot in France, who influencedhis early works and who triggered his passion to paint outdoors. His style evolved as he progressed in life, influenced too by the debateswith his fellow-painters.After the outbreak of the Franco-Prussian War, he moved to England, but his style of painting, which was a forerunnerof the"Impressionism", did not do very well.Like Degas, Pissarro was a great draughtsman. His representations of rural and urban life are often closely intertwined with his social concerns and anarchist beliefs. A quintessential artist ahead of his time, Pissaro sold very few works during his lifetime.

 

 

Klaus H. Karl (Autor) 

Vincent Van Gogh: 800 imágenes indizadas / 800 indexed images

 

Comprende más de 800 imágenes indizadas por título y año, en archivos jpg de alta calidad.
1,63GB

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It includes more than 800 indexed images per title and year, in high quality jpg files.
1,63GB

Aelbert Cuyp • Arthur K. Wheelock Jr.

Aelbert Cuyp (1620-1691) was one of the foremost Dutch painters and draftsmen of the seventeenth century. His prolific artistic career spanned the years between 1640 and 1665, the greatest period of Dutch painting, and his idyllic views of the Dutch countryside have entranced collectors and connoisseurs ever since. Although particularly renowned for his pastoral scenes, Cuyp also painted portraits, biblical scenes, and majestic views of Dutch harbors. He had an extraordinary ability to capture atmospheric conditions from the golden glow of the late afternoon sun to the brisk wind accompanying a sudden thunderstorm. Indeed, Cuyp's unique combination of Italianate atmospheric effects and native Dutch landscape distinguishes his art from that of any of his contemporaries. At the core of this book and the exhibition it accompanies are forty-five of Cuyp's most distinguished paintings and sixty-four drawings, taken largely from the impressive collections of the organizing institutions but also from other American, British, Dutch, and German museums and private collections. The works are reproduced in brilliant color and accompanied by more than 100 additional illustrations in color and black and white. Their appeal lies not only in the subject matter but also in their distinctive style, for Cuyp infused his Arcadian subjects and river views with a sensitivity to light and a clarity of form that is firmly grounded in reality. 222 illustrations, 124 in color Led by Arthur K. Wheelock of the National Gallery of Art, an international team of curators and scholars discuss Cuyp's work in the context of his time, personal background, artistic development, patrons, use of costume, and artistic techniques.

Valentin Serov • Dmitri V. Sarabianov

Valentín Aleksándrovich Serov, en ruso: Валенти́н Алекса́ндрович Серо́в (19 de enero de 1865 - 5 de diciembre de 1911) fue un pintor ruso y uno de los mejores retratistas de su época.

Bio completa ....

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Valentin Serov was a Russian painter and one of the premier portrait artists of his era.

Complete Bio ...

Valentin Serov • Dmitri V. Sarabianov
pdf / 200 págs. / 102MB / English language  -  Idioma: Inglés

Post-impressionism / Bernard Denvir

 

Bernard Denvir (Autor)  

 

Realism in the Age of Impressionism: Painting and the Politics of Time

 

The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-François Raffaëlli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young’s highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art.

 

Paul Cézanne, pdf

 

 

Paul Cezanne, a contemporary of the Impressionists to whose influence he submitted at the beginning of his career, very quickly turned towards a more personal research which made him the "father of modern painting." Most notably, he was a great influence on Braque & Picasso. This book which also includes numerous preparatory studies, notably those done for the famous Bathers, is a great collection for art lovers.

 

Amazon ... 

 

Impressionism and Post-impressionism

 

 

Impressionism is the most famous artistic movement. But what appears today as a charming and exquisite landscape painting, was actually one of the first avant-garde movements whose members had decided to fight the values of traditional art. The impressionist outdoor paintings shocked the public by the technique used, but also by their apparent banality. As Monet, Sisley, Pissarro and many others sought to capture the ephemeral nature of light, the next generation would reject naturalism. Indeed, post-impressionists such as Gauguin, Van Gogh, Cézanne and Seurat favored the subjective rather than the objective and the eternal rather than the concrete. In doing so, they laid the formal foundations of 20th-century modern art. This book is a visual guide through the crucial moments in the history of art and the progression of the 19th-century to modernity.

 

The Great Wave The Influence of Japanese Woodcuts on French Prints • MET

After Admiral Perry broke through Japan's isolation in 1854, the current of Japanese trade flowed west again, bearing with it the colored woodcuts of Hokusai, Hiroshige, and their contemporaries. Some of the most avid collectors of these prints were the French Impressionists and Nabis, who found in them new ways to treat their own prints. In The Great Wave, Colta Feller Ives, Curator in Charge, Department of Prints and Photographs, The Metropolitan Museum of Art, recounts the phenomenal "cult of Japan" in late nineteenth-century France and reveals through direct comparisons its particular impact on the graphic work of Manet, Degas, Cassatt, Bonnard, Vuillard, Toulouse-Lautrec, and Gauguin.

American Drawings Watercolors Pastels And Collages • Corcoran Gallery Of Art

This volume, the first printed catalog of the holdings of American drawings, watercolors, pastels, and collages of the Corcoran Gallery of Art, documents 1,784 works by 645 artists, acquired through 1982. Black-and-white thumbnail illustrations accompany the entries, which are organized chronologically first by the birthdate of the artists and then by the works’ dates of execution. While watercolor, gouache, pastel, acrylic, and collage are well represented, the collection is especially rich in drawings in pencil, ink, charcoal, and crayon. The greatest strength of the collection lies in the works executed from the 1840s to the early 1900s, including large portfolios by John Singer Sargent, Emanuel Leutze, and Elihu Vedder, as well as a solid representation of Hudson River school works. Contemporary works by artists such as Robert Motherwell, Lee Bontecou, and Richard Diebenkorn are also included. (When the Corcoran Gallery of Art closed in 2014 the National Gallery of Art accessioned much of its collection and became custodian of its publications.

Linda Crocker Simmons with the assistance of Adrianne J. Humphrey, Margaret Kinzer, Edward J. Nygren, Martha Pennigar, Marcy Silver, David Knowlton Tozer, and Jan Clark, Joanna DeGilio, Carol Geu, Irene K. Picar, and Nani Yale

Published 1983

290 pages

Van Gogh • Taschen español

This richly illustrated and expert study follows the artist from the early gloom-laden paintings in which he captured the misery of peasants and workers in his homeland, through his bright and colourful Parisian period, to the work of his final years, spent under a southern sun in Arles. Here, at last, he found the light that produced the unmistakable Van Gogh style. At Arles, Saint-Rémy and Auvers-sur-Oise, in the feverish burst of creative energy that marked his last two-and-a-half years, he produced the 465 paintings on which his immortality rests.

Van Gogh craved recognition during his lifetime but was denied it until after his self-inflicted death. Today he is universally seen as one of the great forerunners of painting of the 20th century, and one of the tragic masters of art.

A Century of Drawing - Works on Paper from Degas to LeWitt

Written to accompany an exhibition in 2001-2002 at the National Gallery of Art in Washington, DC, this hefty and attractive catalog showcases 140 pieces from the collection. Each work is represented in a full-page color plate with a lengthy, annotated entry on the facing page. Robison provides an introduction, which describes the National Gallery's drawing collection. An essay by Judith Walsh discusses artists' paper as it was used and developed during the 20th century. Both editors are curators at the National Gallery.

 

Impresionismo

 

 

Poco antes de su muerte, Claude Monet escribió: "Todavía lamento el haber sido la causa del nombre que se le dio a este grupo, ya que la mayoría de los artistas no eran impresionistas en absoluto". Comenzando con esta paradoja, la de un conjunto de artistas que se consideraban a sí mismos como un grupo coherente al mismo tiempo que declaraban que su objetivo final era reafirmar la individualidad artística, la autora, Nathalia Brodskaya, explora las contradicciones del arte de finales del siglo XIX.
¿Acaso no fue Manet quien evocó la fórmula definitiva: "pinto lo que veo y no lo que otros quieren ver"? Pasaría mucho tiempo antes de que el mundo reconociera la diferencia entre el arte tradicional y académico y el nacimiento de la pintura moderna y no figurativa.
Después de analizar los elementos esenciales del movimiento impresionista, Nathalia Brodskaya examina la obra de cada uno de los principales representantes del movimiento, en busca de "esa convicción que tenían, de justicia en sus principios y de valores en su arte".
De esta afirmación de sus diferencias nació la pintura moderna.

 

www.amazon.com ...

The complete Masters of Poster • Appelbaum [jpg]

Nocturne - Night in American Art, 1890–1917 - Helene Valance

 

 

The turn of the 20th century witnessed a surge in the creation and popularity of nocturnes and night landscapes in American art. In this original and thought-provoking book, Hélène Valance investigates why artists and viewers of the era were so captivated by the night. Nocturne examines works by artists such as James McNeill Whistler, Childe Hassam, Winslow Homer, Frederic Remington, Edward Steichen, and Henry Ossawa Tanner through the lens of the scientific developments and social issues that dominated the period. Valance argues that the success of the genre is connected to the resonance between the night and the many forces that affected the era, including technological advances that expanded the realm of the visible, such as electric lighting and photography; Jim Crow–era race relations; America’s closing frontier and imperialism abroad; and growing anxiety about identity and social values amid rapid urbanization. This absorbing study features 150 illustrations encompassing paintings, photographs, prints, scientific illustration, advertising, and popular media to explore the predilection for night imagery as a sign of the times.