This work offers an overview of the Pre-Raphaelite Brotherhood, one of the most popular art movements that included artists such as William Holman Hunt, Dante Gabriel Rossetti and John Everett.

The Pre-Raphaelites Romance and Realism (New Horizons) /anglais

Arts & Photography

Des Cars, Laurence

History & Criticism

Thames&Hudson

This study of Pre-Raphaelite painters and poets reveals a style-derived from the idealized view of nature in the early Italian Renaissance-steeped in mythology and literary allusion and very popular today with lovers of romantic art and poetry. 125 illustrations, 95 in full color, 5 x 7"

The Pre-Raphaelites: Romance and Realism (Abrams Discoveries)

Harry N. Abrams

Book Description\nCatalogue publié à l'occasion de l'exposition "Manet inventeur du Moderne" présentée au musée d'Orsay, à Paris, du 5 avril au 3 juillet 2011.\nFrom the Back Cover\nUnique évidemment, érotique et politique, très autobiographique, ironique souvent, et tourné en permanence vers l'espace public, l'art de Manet fut ludique aussi. Mettre en jeu, se mettre en danger, ramasser la mise si possible, les trois choses étaient vitales à ce grand ambitieux. L'ancien marin naviguait à vue et toujours en pleine mer. Nul repli, nulle chapelle, nulle dérobade. Manet eut moins peur de ses doutes que de l'échec et de la routine. S'enfermer dans une formule ou une spécialité eût été le pire des renoncements. Révolutionnaire sans doute, peintre d'histoire à sa façon, il fut surtout un peintre de salon, prêt à en découdre avec le jury et le public pour imposer le Moderne dans le grand art.

Manet inventeur du Moderne

Locke, Nancy

COLLECTIFS

Kelly, Simon

Prat, Louis-Antoine

Guégan, Stéphane

Lobstein, Dominique

SOLLERS, PHILIPPE

Burnham, Helen

Individual Artists

Gallimard]

A chronological history of art that assembles chef d'oeuvres from all artistic disciplines around the globe and throughout the ages. This book-the first to be dedicated to the museum's collection-allows the reader to discover the universal spirit that permeates and incarnates the birth of this new museum. The growing collection, presented here for the first time, best captures and expresses the essence and spirit of the museum itself. These 300 works, reproduced in exceptional photographs commissioned for the publication, open a dialogue between the diverse world cultures and their artistic expressions. This work is a collaboration of the Tourism and Culture Authority, the Musee du Louvre, and Skira Flammarion.

Louvre Abu Dhabi: Birth of a Museum

Collections, Catalogs & Exhibitions

Flammarion

Nowadays it is difficult to conceive of the impact that Gustave Courbet's paintings made on French art of the mid-nineteenth century. At once casting himself as revolutionary, bohemian and peasant, Courbet (1819-1877) overturned a deeply-entrenched tradition of academic painting in France, and, eschewing the Romanticism of Delacroix and the NeoClassicism of Ingres, coined instead an idiom he named "Realism." Realism was not pretty, classically proportioned or literary; rather, it confronted the conditions of rural working life, then an unimaginable subject for art. The first masterpiece of this new style was "Burial at Ornans" (1849-1850), a colossal anti-epic that depicted an ordinary funeral in Courbet's home town. The contrast between the work's scale and its subject matter was pronounced, and its murky earth tones struck critics as willfully ugly--a defining reaction that would recur throughout the Modern period, particularly in the reception of early works by Manet and Picasso. Courbet's palette emphasized mass and body politically--that is, in a manner that affirmed the world itself rather than the transcendence of it. His equally famous "The Origin of the World" of 1866, which presented the female genitalia close-up, made this stance explicit. The conceptual beginnings of the "painting of Modern life" are as much in Courbet's Realism as in Charles Baudelaire's famous essay of the same name. In this new assessment, published on the occasion of a major 2008 traveling exhibition, renowned experts shed light on the development of Courbet's realistic, critical style and trace his influence on his contemporaries and subsequent generations, as well as his relationship to early photography. At 480 pages, this monumental volume provides a long-overdue reckoning of this great artist's work.

Gustave Courbet

Amic, Sylvain

Calley Galitz, Kathryn

Reference

Hatje Cantz

An overview of Gérôme’s oeuvre from his sources of inspiration to his influences on others. The public perception of Jean-Léon Gérôme has changed greatly over the past decades. Long stigmatized as an emblem of sterile academicism, he is now considered one of the nineteenth century’s great image makers. This catalog highlights and analyzes his bountiful expression of a visual grammar that takes illusionist obsession to the limits of the bizarre and establishes a resonance with all visual arts, including prints, photography, and cinema. In particular, it will make it possible to propose new approaches to such diverse issues as Gérôme’s place in the French painting of his time, his theatrical conception of historical themes, his complex exoticism, his use of polychrome in sculpture, his role as a teacher, his relationship with historical models, how the figure of this artist galvanized the anti-academy clash at the end of the nineteenth century, and lastly, the singular American destiny of his works. The catalog sets out to explore, beyond the immediate seductive qualities and accessibility of Gérôme’s oeuvre, its double identity, both erudite and popular, which now renders it so precious to art historians and to the general public.

Jean-Leon Gerome

Papet, Edouard

de Font-Relaux, Dominique

Skira

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