Discusses the eight exhibitions held by the French Impressionist artists and examines the history of the artistic movement

The New Painting, Impressionism, 1874-1886: An Exhibition Organized by the Fine Arts Museums of San Francisco With the National Gallery of Art, Washington

Arts & Photography

MOFFETT, Charles S.

Berson, Ruth

Williams, Barbara Lee

Collections, Catalogs & Exhibitions

Fine Arts Museums of San Francisco

The goal of this exhibition and its catalogue is neither to assemble a group of works painted in 1874 nor to mount a retrospective of the Impressionist movement. The collections of the Galerie du Jeu de Paume (Musée du Louvre) and The Metropolitan Museum of Art already offer the finest and most complete survey of Impressionism. Our purpose instead is to bring together the most significant and distinguished Impressionist pictures executed during the difficult early years of the movement, which lasted from approximately 1860 until the appearance of Neo-Impressionsim with Seurat in the mid-eighties.Impressionism cannot be given a capsule definition limited to its preoccupation with modern life, Japanese art, and plein-air painting. Before anything else, its emphasis on resonant color (vibration colorise) rendered through adjacent strokes of color interactivating one another is its most important characteristic. The common interest in resonant color is the source of real innovataion in the work of Monet, Renoir, and their circle, and in some instances, Manet too. Impressionism is the convergence of loose bonds between these individuals, each with his own obsessions but working together in a common venture without the loss of his own particular character; nevertheless, Impressionism was also a collective intellect (although as individuals they only thought of one thing at a time, life itself is a culmination—it is everything simultaneously). The Impressionists, because of their particular mode of plastic expressions, embodied the spirit of the period. [This book was originally published in 1974 and has gone out of print. This edition is a print-on-demand version of the original book.]

Impressionism: A Centenary Exhibition

Hoog, Michel

Dayez, Anne

History & Criticism

Metropolitan Museum of Art

New Painting: Impressionism, 1874-86

Phaidon Press Ltd.

The greatest collection of Impressionist and Post-Impressionist painting in America can be found at The Metropolitan Museum of Art, New York. This all-color book reproduces 126 of the finest and best-known of these works in large, beautifully printed reproductions, accompanied by individual commentaries. 172 full-color illustrations.

Impressionist and Post-Impressionist Paintings in the Metropolitan Museum of Art

Harry N. Abrams

Impressionists in Winter: Effets De Neige

Impressionsts in Winter: Effets de Neige presents the first thorough investigation of the subject of Impressionist winter landscape. The subject of winter - clearly the most inhospitable season for plein-air painting - provides some of the most exceptional and most spellbindingly beautiful paintings in Impressionism. No exhibition and no publications in the literature on Impressionism have been devoted to this theme before. While such a thematic approach might seem at first blush a superficial one, the subject of this exhibition goes to the heart of one of the central issues of Impressionism, a dedication to painting specific effects of weather and light that is unprecedented in the history of art. Inspired by Alfred Sisley's Snow at Louveciennes in The Phillips Collection, this exhibition of sixty-three works presents an opportunity to consider the subject of snow in Impressionist painting in an unprecedented way. While anyone might have come across one or two of these exceptional works in various works in this country or abroad, it comes as a surprise to most to learn that the Impressionists painted hundreds of paintings of snow or effets de neige, as they came to be called. Of all the Impressionists, three artists especially were drawn to paint effets de neige: Claude Monet, Alfred Sisley, and Camille Pissarro. Their shared fascination with these 'effets' led all three to repeatedly seek out opportunities to paint landscapes in snow. Yet each brought to the subject a highly individual response that we find reflected in the paintings assembled here. In addition to these three artists, Pierre-Auguste Renoir, Gustave Caillebotte and Paul Gauguin also painted snowscapes, though far fewer. Renoir's characteristic interest in a social gathering of skaters in the Bois de Boulogne, Caillebotte's dramatic elevated views over Paris, and Gauguin's rare Brittany snowscapes add dimension and contrast to the dedicated pursuit of winter landscape just outside Paris of Monet, Sisley, and Pisarro. The result is a wider range of winter scenes from the bucolic French countryside to ice floes on the Seine, from the paths and roads of small villages to the boulevards and rooftops of Paris. Their common ground is an obsession with winter light. Most of us do not think of Paris-or the surrounding countryside-covered in snow. We do not anticipate a blizzard impeding winter travel to this part of of the world nor have we ever seen the Seine frozen solid. A very different weather pattern prevailed during the late 19th century. Snowfalls, blizzards, and frost were a fairly commen winter occurrence. Two of the most severe periods of extended cold since 1840 occurred during the winters of 1879-80 and 1890-91. In order to provide a backdrop of recorded weather conditions of the period, we brought together documentation from numerous sources to describe precisely the winter weather during the years covered by this exhibition . The weather was at times described as 'wolf-like' or 'Siberian,' and once was compared to the North Pole. These vivid accounts not only have helped us to assign dates to certain undated works, but also have provided a context for appreciating the impact of weather conditions on life in France in the late nineteenth century.

Impressionists in Winter: Effets de Neige

Rathbone, Eliza

Rothkopf, Katherine

Isaacson, Joel

Philip Wilson Publishers

and Post-impressionist Paintings in the Metropolitan Museum of Art

Impressionist and Post-impressionist Paintings in the Metropolitan Museum of Art

Harry N.Abrams, Inc.

Book by Rothkopf, Katherine, Brettell, Richard R., Moffett, Charles S.

Impressionists on the Seine: A Celebration of Renoir's Luncheon of the Boating Party

Brettell, Richard R.

Counterpoint

THE NEW PAINTING IMPRESSIONISM 1874-1886 ART PAINTINGS IMPRESSIONIST PAINTERS

The New Painting: Impressionism 1874-1886.

The Fine Arts Museums of San Francisco

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