The female members of the nineteenth-century Impressionist movement are usually painted out of official art history, although Edouard Manet, for one, testified to the talents of his friends Berthe Morisot (whose "Harbor at Lorient" of 1869 he so admired that she gave it to him) and Eva Gonzalès (the only pupil Manet ever took), and discussed matters of painting with them as readily as with male peers like Edgar Degas. Even Degas himself, notoriously misogynistic, invited Mary Cassatt to exhibit with him (she was the only American to do so); and Marie Bracquemond also exhibited at the Impressionist exhibitions of 1879, 1880 and 1886, despite the discouragement of her husband. All of these women practiced and supported Impressionism from its earliest days, when it was still a popular sport to deride it. Nonetheless, for Morisot, Gonzalès, Bracquemond and Cassatt, the chances of equivalent long-term recognition were predictably slim, and while their own individual oeuvres were too strong and too omnipresent in their own time to be entirely eradicated from the annals of art, they have rarely received due attention in the hands of subsequent commentators. This stunning 400-page compendium, published to accompany the important traveling exhibition which goes to San Francisco in the summer of 2008, corrects this longstanding oversight, presenting these pioneering painters alongside each other for the first time, reproducing their oil paintings, pastels, watercolors, drawings and etchings and offering a cogent rebuttal of familiar Impressionist narratives.

Women Impressionists: Berthe Morisot, Mary Cassatt, Eva Gonzalès, Marie Bracquemond

Linda Nochlin

Sylvie Patry

Ingrid Pfeiffer

GRISELDA POLLOCK

Anna Havemann

Pamela Ivinski

Reference

Hatje Cantz

Glanz und Elend in der Weimarer Republik

HIRMER

Fantastische Frauen: Surreale Welten von Meret Oppenheim bis Frida Kahlo

Arts & Photography

History & Criticism

Hirmer Verlag

Perhaps more than any of his immediate contemporaries, A.R. Penck revived painting as a relevant practice for postwar culture in Germany. His name now seems synonymous with a painting style that is figurative and political in content, a style both gestural and replete with semiotic impact. After his expatriation from East Germany in 1980, Penck coined a universal vocabulary in which the "sign-making" character of prehistoric painting is fused with the content of contemporary history and the concerns of modern science in a single, memorable picture world. A.R. Penck: Works 1961-2006 presents a selection of the artist's large-scale paintings, as well as artist's books, sculptures and objects from 1960 to the present, all of which are discussed against the background of shifts in the contexts and reception of his work.

A.R. Penck. Retrospektive

Isabelle Graw

A. R. Penck

Harald Kunde

Pirkko Rathgeber

Individual Artists

Richter Verlag

See the best price to sell, buy, or rent books by Ingrid Pfeiffer. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Ingrid Pfeiffer