The Repeating Image: Multiples in French Painting from David to Matisse

An authoritative and elegant study of the theme of repetition in early modern painting Today serial imagery dominates all forms of visual media, from advertising to conceptual sculpture. In this innovative project, the authors show that the phenomenon of repetition appears as a radical element in early modern painting, long before its embrace by 20th-century high modernism. In works by Ingres, Delaroche, Gérôme, Corot, Millet, Monet, Cézanne, Degas, and Matisse, the reader can compare closely related versions of some of the most familiar imagery of the 19th and early 20th centuries. By making multiples of closely related subject matter in their paintings, the authors argue, these painters challenged an aesthetic based on the notion of an inimitable, unique masterpiece. Through beautiful illustrations and essays by leading scholars, this book ultimately shows how the 19th-century invention of photography and film—with their intrinsic attributes of repetition—did not diminish the traditional medium of painting but rather propelled it in new directions.

Arts & Photography

Bann, Stephen

Shiff, Richard

Weiss, Jeffrey

Kelly, Simon

Stuckey, Charles F.

History & Criticism

Walters Art Museum

In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet

The Forest of Fontainebleau, located about 50 miles southeast of Paris, held a singular place in 19th-century art. Variously called savage,” wild,” romantic,” and beautiful” by visitors, Fontainebleau’s topography was viewed in many ways that reflected the sensibilities of the time. 
This is the first English-language publication to examine the significance of the region to the plein-air tradition in France. The book highlights four pivotal figures in the evolution of landscape painting: Jean-Baptiste-Camille Corot, Théodore Rousseau, Jean-François Millet, and Claude Monet. It integrates into this history the photographers who worked at Fontainebleau, including Eugène Cuvelier and Gustave Le Gray, and explores the role the forest played in the development of early photography. It also considers the reception of paintings of Fontainebleau at the Salons and the influence of Fontainebleau on the advent of Impressionism.

Kennel, Sarah

Jones, Kimberly

Aurisch, Helga

Yale University Press

The career path of Vincent van Gogh (1853–1890), one of the world's most recognizable artists, was anything but typical. Focusing on the early stages of van Gogh's artistic development, Becoming van Gogh illustrates the artist's efforts to master draftsmanship, understand the challenges of materials and techniques, incorporate color theory, and fold myriad influences into his artistic vocabulary. Van Gogh was aware of avant-garde trends including Georges Seurat's divisionism, Paul Signac's and Camille Pissarro's pointillism, Émile Bernard's synthetism, and Henri Toulouse-Lautrec's immersion in the bohemian culture of Montmartre.
This handsome book features works by van Gogh alongside works by the artists who influenced him, showing how he incorporated elements of their techniques into a style that became, eventually, uniquely his own. It features essays exploring how van Gogh imbued his early works with energy as he strove to master drawing with graphite, ink, and washes; how he began to understand color with watercolor paintings; and how he tested his skill with oils on canvas. The distinguished contributors to this volume offer insight into van Gogh's temperament, memory, typography, and relationship with his critics, among other topics. Generously illustrated with 262 color images, the book also includes a chronology charting the artist's stylistic development.

Becoming van Gogh

Van tilborgh, Louis

Kendall, Richard

Standring, Timothy

Myers, Nicole

van Eitert, Everett

Meedendorp, Teio

A novel look at the relationship between Impressionist painting and photography and the forging of a national identity in France between 1850 and 1880 Between 1850 and 1880, Impressionist landscape painting and early forms of photography flourished within the arts in France. In the context of massive social and political change that also marked this era, painters and photographers composed competing visions of France as modern and industrialized or as rural and anti-modern. Impressionist France explores the resonances between landscape art and national identity as reflected in the paintings and photographs made during this period, examining and illustrating in particular the works of key artists such as Édouard Baldus, Gustave Le Gray, the Bisson Frères, Édouard Manet, Jean-François Millet, Claude Monet, Charles Nègre, and Camille Pissarro. This ambitious premise focuses on the whole of France, exploring the relationship between landscape art and the notion of French nationhood across the country’s varied and spectacular landscapes in seven geographical sections and four scholarly essays, which provide new information regarding the production and impact of French Impressionism.

Impressionist France: Visions of Nation from Le Gray to Monet

Watson, April M.

Other Distribution

Thai (Foods of the World)

Cookbooks, Food & Wine

Regional & International

Little,Brown

Claude Monet was undoubtedly the most important of all the Impressionist painters and his water lily paintings represent the culminating moment in his career. Monet’s famous garden at Giverny provided the inspiration for the paintings. The exhibition will bring to life the importance and beauty of this garden through a range of archival photographs, as well as an early, rarely seen film from 1915, showing Monet painting outdoors in his garden. Monet’s Water Lilies will reunite the three panels of an exceptionally impressive water lily triptych, created by Monet between 1915 and 1926. The Nelson-Atkins Museum of Art, the Saint Louis Art Museum, and the Cleveland Museum of Art each own one panel of the triptych and the exhibition will offer a rare opportunity to bring the works together. This will be the first time that this reunion has occurred for more than 30 years. With the single exception of a triptych in the Museum of Modern Art, this is the only triptych by Monet in the United States. The exhibition will be on view in Kansas City April 9–August 7, 2011, before traveling to St. Louis. The exhibition will travel to the Cleveland Museum of Art in 2015.

Monet's Water Lilies: The Agapanthus Triptych

St. Louis: Art Museum

Is it possible to heal the body of cancer? This book seeks to answer this important question, presenting guidance on the most important non-toxic cancer treatments. It also shows how to obtain independent information about your chances with conventional therapies, and provides essential facts about chemotherapy.

Healing Cancer: The Top 12 Non-Toxic Cancer Treatments To Help You Beat Cancer

Health, Fitness & Dieting

Kelly, Enrida

Diseases & Physical Ailments

The London Press

Published for the artist's solo exhibition at the Saint Louis Art Museum, this new series of paintings by Brooklyn-based painter Kehinde Wiley (born 1977) reenvisions the museum's holdings as a starting point for succinct observations about representation throughout the history of art. Through a process of street casting starting in 2017, Wiley invited residents he met in the neighborhoods of north St. Louis and Ferguson to pose for his paintings. The artist then created portrait paintings inspired by carefully chosen artworks in the museum's permanent collection. Wiley specifically chose Ferguson, Missouri, after the city became a flashpoint for nationwide protests touching on much larger issues of race, injustice and police violence. This catalog features 11 new paintings by Kehinde Wiley and essays by Simon Kelly, Curator and Head of Department of Modern and Contemporary Art at Saint Louis Art Museum, and Hannah Klemm, Assistant Curator of Modern and Contemporary Art at Saint Louis Art Museum.

Kehinde Wiley: Saint Louis

Klemm, Hannah

Roberts Projects

Théodore Rousseau and the Rise of the Modern Art Market: An Avant-Garde Landscape Painter in Nineteenth-Century France (Contextualizing Art Markets)

Bloomsbury Visual Arts

Product Description 
The 19th century in France witnessed the emergence of the structures of the modern art market that remain until this day. This book examines the relationship between the avant-garde Barbizon landscape painter, Théodore Rousseau (1812-1867), and this market, exploring the constellation of patrons, art dealers and critics who surrounded the artist. It argues for the pioneering role of Rousseau, his patrons and his public in the origins of the modern art market, and, in so doing, shifts attention away from the more traditional focus on the novel careers of the Impressionists and their supporters. Drawing on extensive archival research, the book provides new insight into the role of the modern artist as professional. It provides a new understanding of the complex iconographical and formal choices within Rousseau's work, rediscovering the original radical charge that once surrounded the artist's work and led to extensive and peculiarly modern tensions with the market place. 
 Review 
“Simon Kelly's consummate study of Théodore Rousseau draws the reader deeply into the complex lived experience of this adventurous, under-examined painter of the French landscape, bringing to light as never before an entire world of making, selling and viewing art in mid-nineteenth-century France, just as the stage was set for the avant-gardes to come.” ―Thomas Crow, Rosalie Solow Professor of Modern Art, Institute of Fine Arts, New York University, USA“Kelly's book makes an important contribution, both to the history of French landscape painting and to recent scholarship on the modern art market. Far from being le grand refusé, Rousseau emerges as one of the most commercially shrewd artists of his generation, who used pioneering tactics to promote his often challenging and experimental style of painting. Unorthodox and independent-minded, he became an art market innovator, anticipating some of the strategies employed by the Impressionists. Written with a sensitive and curatorial eye, this fascinating book is based on extensive archival research and includes extracts from stockbooks and procès-verbaux, as well as letters from Rousseau to his patrons, dealers, critics and fellow artists.” ―Frances Fowle, Chair of Nineteenth-Century Art, University of Edinburgh and Senior Curator of French Art, National Galleries of Scotland, UK 
 About the Author 
Simon Kelly is Curator and Head of Department of Modern and Contemporary Art, The Saint Louis Art Museum, USA.\nKathryn Brown is Lecturer in Modern and Contemporary Art at Loughborough University, UK. She is the author of 
Women Readers in French Painting 1870–1890 (2012) and (as editor and contributor) 
The Art Book Tradition in Twentieth-Century Europe (2013), 
Interactive Contemporary Art: Participation in Practice (2014) and 
Perspectives on Degas (2016). She has published widely on nineteenth- and twentieth-century French painting and literature. Brown is editor of the Bloomsbury series Contextualizing Art Markets.

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