Honore-Victorin Daumier (1808-79) was loved and loathed for his biting satires of contemporary life and human malice. This is the catalogue for the first retrospective of his work since 1878 and pulls together works on similar subjects for the first time. Daumier was very much an artists' artist, collected by artists like Corot, Degas, and Gauguin and inspiration to artists like Picasso. Daumier's art gave voice to universal subjects and themes by depicting a France struggling with its unfolding history. It is a well-known irony that Daumier is collected widely among lawyers, practitioners of a profession that he scorned. This book is lavishly produced, with almost every of 369 plates in color.

Daumier 1808-1879

Arts & Photography

Lobstein, Dominique

Papet, Edouard

Pantazzi, Professor Michael

Melot, Michel

Loyrette, Henry

Le Men, Ségolène

History & Criticism

Yale University Press

Degas, the catalogue of the first large-scale retrospective exhibition of the work of Edgar Degas (1834–1917) to be held in more than fifty years, is the permanent record of the 1988–89 exhibition jointly organized by the Réunion des Musées Nationaux, Paris, The National Gallery of Canada, Ottawa, and The Metropolitan Museum of Art, New York. Comprehensive in scope and definitive in nature, this volume includes paintings, pastels, drawings, monotypes, prints, photographs, and sculpture representing every aspect of the career of one of the protean artists of the nineteenth century. As a result of extensive research conducted in libraries, archives, and private collections in Europe and North America, dozens of previously unpublished letters and hundreds of little-known documents here provide an unparalleled source of information on the life of this extraordinary artist, bringing to a new level of precision our understanding of his working methods, his subjects, and his patrons.In recent years, there has been a spate of publications devoted to the work of Degas. All of them have been defined either by the specific character of a particular collection, or by thematic or chronological divisions. The present volume, five years in the making, unites all the various facets of Degas's artistic personality and presents his oeuvre as a totality, rich in its variety, relentless in its experimentation, and constant in its commitment to the human figure portrayed within the context of modern urban life.The book is divided into four sections, each corresponding to a period in Degas's life: his work as a student in Rome until the 1872 trip to New Orleans; early maturity, 1873–81; mid-career, 1881–90; and late work, 1891–1912. Each section is introduced by a general essay and a detailed chronology that identifies the central issues and events—trips abroad, exhibitions, sales to dealers, contacts with other artists, and cultural outings—relevant to those years of the artist's life. Each of the 392 works in the exhibition is fully illustrated and discussed in individual entries that include a selected bibliography, a list of exhibitions, and a complete history of previous owners. The evolution, through exquisite preparatory drawings, of the artist's ambitious history paintings of the 1860s is fully documented. Great family portraits, such as the monumental Bellelli Family of the 1860s, are considered in relation to Degas's self-portraits and portraits of his colleagues Tissot, Cassatt, and Manet. Degas's lively depictions of racetrack scenes and jockeys are examined in works ranging from the 1860s to the early 1900s. His ballet pictures are studied with equal comprehensiveness, from his first treatment of the subject to such key paintings of the 1870s as the two versions of The Dance Class to the last brilliantly worked pastels. Each of the series of Degas's maturity—laundresses, milliners, brothel scenes, landscapes, and bathers—is documented with major works in oil or pastel and supplemented by related drawings, bronzes, monotypes, and prints. A special effort has been made to include works that are little known (for example, Degas's photographs), and an emphasis has been placed on works made early in the artist's career—largely in Italy—and late in his life, when he achieved in his bathers, coiffures, and dancers a powerful fusion of bold line and intense color. [This book was originally published in 1988 and has gone out of print. This edition is a print-on-demand version of the original book.]

Degas, 1834–1917

Tinterow, Gary

Druick, Douglas

Pantazzi, Michael

Boggs, Jean Sutherland

Metropolitan Museum of Art

This handsome publication, which accompanies a major exhibition at The Metropolitan Museum of Art, is a lively and engaging account of the artistic scene in Paris in the 1860s, the years that witnessed the beginnings of Impressionism. For the first time the interactions and relationships among the group of painters who became known as the Impressionists are examined without the over-worn art historical polarities commonly evoked: academic versus avant-garde, classicist versus romantic, realist versus impressionist. A host of strong personalities contributed to this history, and their style evolved into a new way of looking at the world. These artists wanted above all to give an impression of truth and to have an impact on or even to shock the public. And they wanted to measure up to or surpass their elders. This complex and rich environment is presented here―the grand old men and the young turks encounter each other, the Salon pontificates, and the new generation moves fitfully ahead, benignly but always with determination.Origins of Impressionism gives a day-by-day, year-by-year study of the genesis of an epoch-making style. Nine essays review the Parisian art world before Impressionism ("The Salon of 1859") and the traditional genres both as they were known and as they would be transformed by the New Painting ("History Painting," "Realist Landscape," "The Nude," "Figures in Landscape," "Still Life," "Portraits and Figures," "Impressionist Landscape," and "Modern Life"). Each is illustrated with an abundance of works by the new artists as well as by those who made up the rest of the artistic milieu. The breadth and depth of the art world become evident and our understanding is further expanded by a wealth of contemporaneous comments and criticism. The relations between artists―Manet and Degas, Cézanne and Pissarro, Monet and Bazille, among others―are made clear, and their implications are explored. Insightful commentary brings new dimensions to Monet, Fantin-Latour, and Renoir. Throughout, the history of this period is greatly augmented and much sharpened. Bibliographies and provenances are provided for each of the almost two hundred works in the exhibition, and there is an illustrated chronology. With more than two hundred superb color plates, this informative survey is an essential work for both the general reader and the scholar. [This book was originally published in 1994 and has gone out of print. This edition is a print-on-demand version of the original book.]

Origins of Impressionism

<p>An illustrated look at the life and work of the great impressionist painter presents reproductions of his work and discusses his influence on the art world, his personal life, his love of opera, and his famous friends. Original.</p>

Degas: The Man and His Art (Abrams Discoveries)

Biographies & Memoirs

Harry N. Abrams

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