Richard R. Brettell's innovative and beautifully-illustrated account explores the works of artists such as Monet, Gauguin, Picasso, and Dali--as well as lesser-known figures--in relation to expansion, colonialism, nationalism and internationalism, and the rise of the museum. Beginning with The Great Exhibition of 1851 in London, Brettell follows the development of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. Giving attention to the changing social, economic, and political climate, the book focuses on conditions for the development of modern art such as urban capitalism, modernity, and the accessible image made possible by art museums, temporary exhibitions, lithography, and photography. Brettell examines artists' responses to modernism, including changes in representation, vision, and "the art of seeing." Combining the most recent scholarship with 140 illustrations--75 in full color--the book chronicles the change in art and image itself, from the iconology of new representations of the nude human form to the anti-iconography of "art without 'subject'": landscape painting, text and image, and abstraction. Tracing common themes of representation, imagination, perception, and sexuality across works in a wide range of different media, and offering profuse illustration to bring the changing art forms vividly to life, Modern Art 1851-1929 presents a fresh approach to the fine art and photography of this remarkable era.

Modern Art 1851-1929: Capitalism and Representation (Oxford History of Art)

Arts & Photography

Brettell, Richard R.

History & Criticism

Oxford University Press

Richard Brettell's innovative and beautifully-illustrated account, the latest addition to the acclaimed Oxford History of Art series, explores the works of artists such as Monet, Gauguin, Picasso, and Dali--as well as lesser-known figures--in relation to expansion, colonialism, nationalism and internationalism, and the rise of the museum. Beginning with The Great Exhibition of 1851 in London, Brettell follows the development of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. Giving attention to the changing social, economic, and political climate, the book focuses on conditions for the development of modern art such as urban capitalism, modernity, and the accessible image made possible by art museums, temporary exhibitions, lithography, and photography. Brettell examines artists' responses to modernism, including changes in representation, vision, and "the art of seeing." Combining the most recent scholarship with 140 illustrations--75 in full color--the book chronicles the change in art and image itself, from the iconology of new representations of the nude human form to the anti-iconography of "art without 'subject'": landscape painting, text and image, and abstraction. Tracing common themes of representation, imagination, perception, and sexuality across works in a wide range of different media, and offering profuse illustration to bring the changing art forms vividly to life, Modern Art 1851-1929 presents a fresh approach to the fine art and photography of this remarkable era.

One of the most significantand least studiedforms of postwar art collecting in the United States has been the corporate collection. This beautiful book documents one of the most important and widely exhibited of these holdings: the collection of Sara Lee Corporation, fifty-two works selected from the personal collection of Sara Lee’s founder, Nathan Cummings. With major masterpieces ranging from an 1872 painting by Claude Monet to a 1964 bronze by Henry Moore, the Sara Lee Collection was assembled in 1980, five years before Cummings’s death. Since then it has been exhibited in or made loans to many museums throughout the world. In 1998, the corporation announced an unprecedented gift of the entire collection to a group of forty art museums, twenty-five in the United States and fifteen in international cities in which Sara Lee Corporation has a major presence. This Millennium Gift is the largest single gift to the arts in American history and the first to include institutions outside the United States. This book discusses the Nathan Cummings Collection, the Sara Lee Collection, and the Millennium Gift. It also includes an essay on each of the fifty-two works that places the work in the context of the artist’s oeuvre, proposes new interpretations, and discusses the position of the art in the collections of the recipient museums throughout the world. Lavishly illustrated, the book also provides more than 200 comparative photographs.

Monet to Moore: The Millennium Gift of Sara Lee Corporation

Yale University Press

Impression: Painting Quickly in France, 1860-1890

Working on site with speed and directness, impressionist artists hoped to distinguish their works with a new immediacy, yet the paintings they exhibited were almost always completed in the studio later. This beautifully illustrated book investigates for the first time the impressions, or painted sketches, that some of the best-known artists of the Impressionist movement actually finished on the spot.

Gauguin and Impressionism

Paul Gauguin was introduced into the Impressionist circle by Camille Pissarro and contributed major works to five of the eight Impressionist exhibitions between 1879 and 1886. During these years he transformed himself from a banker-stockbroker into a professional artist and from a family man into a solitary searcher for artistic, moral, and spiritual truths. Yet this vital period of Gauguin’s life has usually been dismissed as an awkward prelude to his brilliant career as an anti-Impressionist. This handsomely illustrated book reconsiders Gauguin’s apprenticeship as an Impressionist and reassesses his contributions to the movement through the extraordinarily subtle and beautiful paintings, sculpture, and ceramic works he created during the years before 1887.Richard R. Brettell and Anne-Birgitte Fonsmark argue that Gauguin’s Impressionist paintings compare in quality to those of Sisley, Morisot, or Cassatt and that as a sculptor he was second only to Degas. His sculptures and ceramics were even more searching and radical than his early paintings and are crucial to the understanding of his development. Gauguin grappled with the thorniest issues debated by the French avant-garde, the authors contend, and no member of the Impressionist group created works as enigmatic or as wideranging, both artistically and emotionally.

Fonsmark, Anne-Birgitte

This is the first critical catalogue of the collection of nineteenth-century paintings and drawings in the Norton Simon Museum of Art. World-renowned for its strength in works by the French impressionists and post-impressionists―Monet, Renoir, Gauguin, Cézanne and Van Gogh―the Museum also houses outstanding paintings by the Realist Gustave Courbet, and the Barbizon painter Camille Corot among others. Each of the 138 artworks featured in the book is illustrated in color and accompanied by a full catalogue entry, comprising critical essay exhibition and ownership history, bibliography and conservation notes. Color reproductions of comparative works from other collections―public and private―are also included. Stephen Eisenman and Richard Brettell have conjoined their unique perspectives on nineteenth-century art to summarize existing scholarship of the period, and most of all, shed new light on a collection of important but little-studied masterpieces. They have also collaborated in writing an introduction to the catalogue that for the first time places the collector Norton Simon in the historical, intellectual, and economic context of his time.

Nineteenth-Century Art in the Norton Simon Museum, Volume 1

Eisenman, Stephen F.

Norton Simon Distribution

Paul Gauguin was introduced into the Impressionist circle by Camille Pissarro and contributed major works to five of the eight Impressionist exhibitions between 1879 and 1886. During these years he transformed himself from a banker-stockbroker into a professional artist and from a family man into a solitary searcher for artistic, moral, and spiritual truths. Yet this vital period of Gauguin’s life has usually been dismissed as an awkward prelude to his brilliant career as an anti-Impressionist. This handsomely illustrated book reconsiders Gauguin’s apprenticeship as an Impressionist and reassesses his contributions to the movement through the extraordinarily subtle and beautiful paintings, sculpture, and ceramic works he created during the years before 1887.Richard R. Brettell and Anne-Birgitte Fonsmark argue that Gauguin’s Impressionist paintings compare in quality to those of Sisley, Morisot, or Cassatt and that as a sculptor he was second only to Degas. His sculptures and ceramics were even more searching and radical than his early paintings and are crucial to the understanding of his development. Gauguin grappled with the thorniest issues debated by the French avant-garde, the authors contend, and no member of the Impressionist group created works as enigmatic or as wideranging, both artistically and emotionally.

Yale Univ Pr

The Lone Star State is home to a dazzling array of world-class artworks, many in private collections and rarely exhibited. Reflecting the Kimbell Art Museum’s own collecting strengths, this book focuses on the art of Europe and the ancient Mediterranean from about 700 B.C. to around 1950. Over 40 prominent collections are featured along with works that have been given to museums in Texas or have left the state through gift or sale. Among the artists included are Thomas Gainsborough, Paul Gauguin, Guercino, Henri Matisse, Piet Mondrian, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, and Vincent van Gogh. The distinguished scholar Richard R. Brettell contributes a comprehensive essay on the importance of private collecting in Texas.

From the Private Collections of Texas: European Art, Ancient to Modern

Dickerson III, C. D.

Kimbell Art Museum

In many of Edouard Vuillard's (1868-1940) most famous paintings, figures are nestled in intimate settings among bold patterns and colors. As the viewer's eye adjusts to the complexity of the scene, the artist's world opens up. At a young age, Vuillard was one of a group of avant-garde painters in Paris who favored rich palettes and dreamlike imagery. He was equally a member of the literary and theatrical circles that included writers like Marcel Proust and Stéphane Mallarmé. As his career progressed into the new century, he entered the rarefied society of upper-class French families—many of them Jewish—who collected the new art, published the new poetry, and wrote the new criticism.
This beautifully illustrated book examines the master artist's work in the context of a unique circle of friends and patrons between the turn of the 20th century and World War II. Essays by leading scholars explore the artist's relationship with key members of this glamorous social circle, as well as the connections between Vuillard and Proust, two of the world's great observers of a world now lost.
A fascinating exploration of artistic culture in Paris before the war, Edouard Vuillard establishes the artist as one of the masters of the modern portrait.

Edouard Vuillard: A Painter and His Muses, 1890-1940

Brown,Stephen

A sumptuously illustrated exploration of American artists’ interpretations of Impressionist styles and themes This lively, beautifully illustrated book focuses on a group of American artists who applied Impressionist ideas and techniques to American subjects, and in so doing, they attracted and cultivated an enthusiastic American audience. These artists, including Mary Cassatt, John Singer Sargent, James McNeill Whistler, Theodore Robinson, William Merritt Chase, and Childe Hassam, invented a new and highly diverse formulation of the Impressionist movement. Essays by experts in the field of Impressionism discuss the impact of Impressionism on the countryside and city paintings of Robinson and Hassam; and consider significant pictures by Cassatt, Sargent, and Whistler that demonstrate their role in the exploration of brilliant color harmonies and compositions developed from contact with French artists such as Claude Monet and Edgar Degas. The book features more than 60 paintings, some well known, others less familiar, produced in Europe and America. By representing American imagery, from the Atlantic coastline to New York’s public gardens, through the most current ideas about art-making, the artists showcased here created a unique expression of an evolving national identity.

American Impressionism: A New Vision, 1880 1900

Fowle, Frances

Bourguignon, Katherine M.

Editions Hazan, Paris

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

Books by Brettell, Richard R.

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

Modern Art 1851-1929: Capitalism and Representation (Oxford History of Art)

Modern Art 1851-1929: Capitalism and Representation (Oxford History of Art)

Monet to Moore: The Millennium Gift of Sara Lee Corporation

Impression: Painting Quickly in France, 1860-1890

Gauguin and Impressionism

Nineteenth-Century Art in the Norton Simon Museum, Volume 1

Gauguin and Impressionism

From the Private Collections of Texas: European Art, Ancient to Modern

Edouard Vuillard: A Painter and His Muses, 1890-1940

American Impressionism: A New Vision, 1880 1900