The triumph of the forward-looking Impressionists over the deadwood of the French Academy is a familiar story to art lovers. Now this challenging book adds a new dimension to that period, showing that at the same time the Naturalists were shaping a different view of painting. Weisberg reveals that the Naturalists went beyond Impressionism in both ...
The triumph of the forward-looking Impressionists over the deadwood of the French Academy is a familiar story to art lovers. Now this challenging book adds a new dimension to that period, showing that at the same time the Naturalists were shaping a different view of painting. Weisberg reveals that the Naturalists went beyond Impressionism in both technique and subject matter. 307 illustrations, 86 in full color.
Good in Fair jacket. Good-Hardcover with Fair Dustjacket. Heavy soiling and shelfwear to DJ, including large piece torn out. Light soiling and shelfwear to covers. Textblock, inside covers, and endpapers lightly soiled. Name and info on FFEP. Writing and underlining on some pages. Otherwise, pages clean and tight in binding. Pictures available upon request. A locally owned, independent book shop since 1984.
VG+ / VG. In English. Brown cloth boards with orange spine lettering, color illustrated DJ; 303 pp.; 275 illustraions, including 85 color plates, frontispiece. From the dust jacket: Concurrent with the Impressionists and influenced by Emile Zola"s writings, the Naturalists believed that they were revolutionizing French painting by their focus on themes taken from the streets of Paris or from life in the provinces. In 1866, Zola began to advocate the examination of reality through an objective, scientific study of man. To achieve this in painting, the Naturalists sometimes relied on the infant medium of photography, which could lock in a spontaneity and documentary precision that painting and sketching could not always achieve. The Naturalists exerted widespread influence, with enclaves appearing in England and Scotland, Belgium, Holland, Hungary, Germany, Scandinavia, and the U.S. Using largely primary field research, Gabriel P. Weisburg has written the first comprehensive study of the sweeping implications of these documentary attitudes that grafted scientific advances onto the academic tradition.
Publishers Weekly, 1992-10-26 Eclipsed by the Impressionists, Naturalist painters are restored to their rightful place in the history of art in this remarkable, lavishly illustrated study. Influenced by Emile Zola's writings, French Naturalist artists documented personalities and locales in a detached, impersonal style. With photography as their chief tool and ally, the Naturalists aimed for the look of unposed, spontaneous nature, which put them on a collision course with the Impressionists. Naturalists were castigated as ``photo-realists'' as early as the 1890s. Some Naturalists produced socially aware canvases of coal miners or strikers; others depicted nudes, rustic scenes, life's trials. The movement became international, encompassing artists from Britain, Germany, Holland, Belgium, Scandinavia, Hungary and the U.S. The best of these pictures are uncompromisingly honest and strikingly beautiful, eschewing anecdote and sentiment. Weisberg is an art history professor at the University of Minnesota. (Nov.)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited, Baker & Taylor, Inc., or by their respective licensors, or by the publishers, or by their respective licensors. For personal use only. All rights reserved. All rights in images of books or other publications are reserved by the original copyright holders.