One of the most forward-thinking art dealers of all time, Paul Durand-Ruel (1831–1922) played a crucial role in the rise of French Impressionism. This book explores how Durand-Ruel discovered, exhibited, and shaped an audience for Impressionist paintings at a time when they were not yet appreciated.\nDurand-Ruel first encountered key Impressionist painters in the early 1870s and guided many of their careers for decades. A passionate advocate of the Impressionists, he established personal ties with these artists and developed new markets for them by opening branches of his Paris gallery in London, Brussels, and New York. Featuring essays by leading scholars, this handsome volume provides a biography of the man and the trajectory of his career. It also examines his relationships with artists and buyers and his groundbreaking business practices, such as embracing the idea of the solo show, publishing art reviews, and paying artists stipends—often at great financial risk and personal cost to himself. Illustrated with archival documents, historic photographs, and paintings by artists such as Edgar Degas, Edouard Manet, Claude Monet, and Pierre-Auguste Renoir, among others, this major contribution to the study of art and commerce transforms our understanding of the development of Impressionism.

Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market

Sylvie Patry

National Gallery Company

Claude Monet, 1840-1926

Richard Thomson

Sylvie Patin

VARIOUS

Anne Roquebert

The female members of the nineteenth-century Impressionist movement are usually painted out of official art history, although Edouard Manet, for one, testified to the talents of his friends Berthe Morisot (whose "Harbor at Lorient" of 1869 he so admired that she gave it to him) and Eva Gonzalès (the only pupil Manet ever took), and discussed matters of painting with them as readily as with male peers like Edgar Degas. Even Degas himself, notoriously misogynistic, invited Mary Cassatt to exhibit with him (she was the only American to do so); and Marie Bracquemond also exhibited at the Impressionist exhibitions of 1879, 1880 and 1886, despite the discouragement of her husband. All of these women practiced and supported Impressionism from its earliest days, when it was still a popular sport to deride it. Nonetheless, for Morisot, Gonzalès, Bracquemond and Cassatt, the chances of equivalent long-term recognition were predictably slim, and while their own individual oeuvres were too strong and too omnipresent in their own time to be entirely eradicated from the annals of art, they have rarely received due attention in the hands of subsequent commentators. This stunning 400-page compendium, published to accompany the important traveling exhibition which goes to San Francisco in the summer of 2008, corrects this longstanding oversight, presenting these pioneering painters alongside each other for the first time, reproducing their oil paintings, pastels, watercolors, drawings and etchings and offering a cogent rebuttal of familiar Impressionist narratives.

Women Impressionists: Berthe Morisot, Mary Cassatt, Eva Gonzalès, Marie Bracquemond

Linda Nochlin

Ingrid Pfeiffer

GRISELDA POLLOCK

Anna Havemann

Pamela Ivinski

Reference

Hatje Cantz

Product DescriptionIn this book beloved examples of Post-Impressionism from one of the world's premier art museums provide a splendid overview of innovations ushered in by the popular movement. Representing a pivotal moment in the history of European art, the Post-Impressionists created some of the most recognizable and stylistically inventive paintings of the modern era. Published to accompany a major exhibition, this book presents over one hundred celebrated paintings from the unparalleled collection of Paris's Musee d'Orsay. Focusing on the decades around 1900, this publication presents late Impressionist landmarks by Monet and Renoir; early modern masterpieces by Cezanne, Gauguin, Toulouse-Lautrec, and Van Gogh; and avant-garde canvases by the Nabis painters Denis, Bonnard, and Vuillard. The volume also provides a unique look at the Muee d'Orsay's outstanding collection of Pointillism, including works by artists such as Seurat and Signac. Together these works offer a fresh assessment of seismic transitions in the European art world at the turn of the twentieth century that ushered in the birth of modern painting and produced lasting treasures of its own. About the AuthorSYLVIE PATRY and STEPHANE GUEGAN are Curators at the Musee d'Orsay, Paris. Includes essays by Guy Cogeval, Sylvie Patry, and Stephane Guegan of the Musee d'Orsay.

Van Gogh, Gauguin, Cezanne and Beyond: Post-Impressionist Masterpieces from the Musee d'Orsay

Arts & Photography

Stéphane Guégan

Collections, Catalogs & Exhibitions

Prestel

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Books by Sylvie Patry