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

Jean-Baptiste Carpeaux (1827–1875) was an extraordinarily gifted sculptor―the greatest in 19th-century France before Rodin―and embodied the emotionally charged artistic climate of his era. The passionate Carpeaux comes alive in this handsome new publication. Carpeaux’s wrenching representations of human forms, shown in beautiful color details and illustrations, echo his turbulent personal life, fraught with episodes of violence and fatal illness. The book covers the entire span of Carpeaux’s career, and includes the masterpiece Ugolino and His Sons, newly discovered drawings, and a number of rarely seen or studied works. Previously unpublished letters between Carpeaux and his family and friends, a wealth of archival material, and the most detailed chronology of the artist’s life ever published make this book the definitive resource on the artist and his creations.

The Passions of Jean-Baptiste Carpeaux

Draper, James David

Metropolitan Museum of Art

Sculptor Charles Cordier (1827-1905) captured attention worldwide when he exhibited a bust of a Sudanese man at the Paris Salon in 1848, the very year slavery was abolished in the French colonies. From 1851 to 1866 he served as the official sculptor of Paris's National History Museum, creating a series of spectacularly lifelike busts for their new ethnographic gallery (now housed in the Musee de l'Homme, Paris). The Musee d'Orsay in Paris has organized an unprecedented exhibition of Cordier's work, highlighting seventy-five sculptures and almost forty ethnographic photographs. Filled with several texts on his life and work compiled by the exhibition's organizers, this book serves as the official exhibition catalogue but also includes a catalogue raisonne of six hundred of Cordier's works, of which four hundred are reproduced.

Facing the Other: Charles Cordier (1827-1905) Ethnographic Sculptor

de Margerie, Laure

Individual Artists

Harry N. Abrams

The Passions Of Jean-baptiste Carpeaux

En couleurs, la sculpture polychrome en France 1850-1910

Hazan

This volume presents a marriage made in camp heaven--the splendid extravagance of the palace of Versailles as a backdrop for the gregarious, loud and equally extravagant sculptures of contemporary American Pop artist Jeff Koons, who mounted the first contemporary art exhibition ever in the apartments of the king in September 2008. What other artist could match Louis XIV's love of the saccharine gesture? Sugared up to the max, Koons here counterposes Versailles' rich detail with his more simplified forms, including a monumental red chocolate-box-style heart, balloon dog and suspended red aluminum lobster. Other works outdo Versailles for kitsch, such as Koons' marble self-portrait, playfully sited amid busts of Louis XIV, his infamous "Michael Jackson and Bubbles" sculpture and his ever-cryptic bare-breasted blonde clutching the Pink Panther. Yet others, such as the large vase of flowers, blend seamlessly with the decor. Needless to say, accusations of irreverence have abounded, but Koons avows only respect for the venue and has testified that he has drawn inspiration for his floral sculptures from the "fantasy and control" shown by Louis XIV himself. The degree of sympathy is as hard to contest as the edge of parody: Asked why he installed his vitrine of vacuum cleaners among the portraits of royalty in the Queen's antechamber, Koons replied that, among other things, vacuum cleaners are "very womblike." This monograph records each of the 17 works as exhibited and is supplemented with texts by Jean-Jacques Aillagon, chairman of Versailles and a former French culture minister, and controversial French novelist Michel Houellebecq, among others.

Jeff Koons: Versailles

Criqui, Jean-Pierre

Editions Xavier Barral

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

Des Cars, Laurence

de Font-Relaux, Dominique

Skira

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