Corot

A reference work on Corot, the most important nineteenth century French landscape artist. Included are essays on Corot's life and artistic development, providing extensive information about his paintings, their collectors and forgeries.

Arts & Photography

Tinterow, Gary

Pantazzi, Professor Michael

Pomarède, Vincent

Pantazzi, Michael

Individual Artists

Metropolitan Museum of Art

This twelve-volume series for the general reader reproduces works of art representing the resources of all eighteen curatorial departments of the Museum.

Modern Europe (Metropolitan Museum of Art Series)

In 1804, at the dawn of the French Empire, there were no more than a handful of Spanish paintings in public collections in France. During the course of the nineteenth century, however, French collectors and museums assembled substantial holdings of works by such Spanish masters as Velázquez, El Greco, Zurbarán, Murillo, and Goya. At the same time, French writers and artists―among them Delacroix, Géricault, Courbet, Millet, Bonnat, Degas, and, especially, Manet―came to understand, appreciate, and even emulate Spanish painting of the Golden Age. This beautiful book features over 150 works by French and Spanish artists, charting the development of this cultural influence and mapping a fascinating shift in the paradigm of painting: from Idealism to Realism, from Italy to Spain, from Renaissance to Baroque. Above all, it vividly demonstrates how direct contact with Spanish painting fired the imagination of nineteenth-century French artists and brought about the triumph of Realism in the 1860s, and with it a foundation for modern art. American artists of the second half of the nineteenth century often turned to Europe for training and inspiration. Whistler, Cassatt, Eakins, Chase, and Sargent all traveled to Spain for firsthand exposure to its artistic heritage and experienced the thrill of discovering Spanish painting. Also included in this volume are works by American artists that clearly reflect the pervasive influence of and taste for Spanish painting.

Manet/Velázquez: The French Taste for Spanish Painting (Metropolitan Museum of Art Series)

Lacambre, Geneviève

History & Criticism

This beautiful volume features a compendium of the Metropolitan Museum’s finest European paintings dating from 1800 to 1920. The focus is on French art of this periodof which the Museum possesses the most comprehensive collection outside of Francebut extraordinary pictures by artists of other nationalities are also included. Thanks to a succession of generous and discerning donors
from the H. O. Havemeyers to the Walter H. Annenbergsthis publication presents a history of painting in Paris from Prud’hon to Picasso, by way of Delacroix, Corot, Courbet, Manet, Monet, Degas, Cézanne, Seurat, and many others.

Masterpieces of European Painting, 1800-1920, in The Metropolitan Museum of Art

To mark the centenary of Georges Seurat's death in 1891, the Réunion des Musées Nationaux/Musée d'Orsay and The Metropolitan Museum of Art organized a landmark retrospective, Georges Seurat, 1859–1891, which will be seen on both sides of the Atlantic. In this exhibition and publication, such masterpieces as Parade de cirque, Cirque, and Jeune femme se poudrant, and an extraordinary group of seascapes testify to Seurat's pictorial ambitions. His splendid drawings in conté crayon place him, with Ingres, among the greatest draftsmen of the nineteenth century. These sheets and the beautiful series of small paintings on wood―his croquetons (little sketches)―give a more intimate view of Seurat. A large number of works are exhibited together for the first time, thanks to the generosity of private collectors. This publication is meant to stimulate a fresh view of Seurat as well as to display his work. A century after Seurat's death, we are now able to correct some of the myths that grew up around him. Because he died at the age of thirty-one, he was long believed to have produced only a few pictures and to have died of consumption or some other frailty (so tenacious is the romantic paradigm of an early death). To the contrary, he was tall for his era (five feet, nine and one-half inches), and his friends always described him as being robust, but he ultimately succumbed to an epidemic of virulent diphtheria. As for his productivity, from his one decade of maturity there survive six huge canvases and sixty smaller ones, about 170 wood panels, 230 completed drawings, and fourty-five studies or fragmentary drawings, among other works. Harder to overcome than the myth of a frail, unproductive artist is the idea that Seurat's work was all but abstract, that the heart of his art lay not in his subjects but in his geometric compositions which presented summary types rather than individual humans. This book contests that Seurat's types are not "abstract"―that they are not the residue of a purely formal instinct but are brilliant visual distillations of psychological and social meanings. [This book was originally published in 1991 and has gone out of print. This edition is a print-on-demand version of the original book.]

Georges Seurat, 1859–1891

Cachin, Françoise

Stein, Susan Alyson

Herbert, Robert L.

Distel, Anne

Degas, the catalogue of the first large-scale retrospective exhibition of the work of Edgar Degas (1834–1917) to be held in more than fifty years, is the permanent record of the 1988–89 exhibition jointly organized by the Réunion des Musées Nationaux, Paris, The National Gallery of Canada, Ottawa, and The Metropolitan Museum of Art, New York. Comprehensive in scope and definitive in nature, this volume includes paintings, pastels, drawings, monotypes, prints, photographs, and sculpture representing every aspect of the career of one of the protean artists of the nineteenth century. As a result of extensive research conducted in libraries, archives, and private collections in Europe and North America, dozens of previously unpublished letters and hundreds of little-known documents here provide an unparalleled source of information on the life of this extraordinary artist, bringing to a new level of precision our understanding of his working methods, his subjects, and his patrons.In recent years, there has been a spate of publications devoted to the work of Degas. All of them have been defined either by the specific character of a particular collection, or by thematic or chronological divisions. The present volume, five years in the making, unites all the various facets of Degas's artistic personality and presents his oeuvre as a totality, rich in its variety, relentless in its experimentation, and constant in its commitment to the human figure portrayed within the context of modern urban life.The book is divided into four sections, each corresponding to a period in Degas's life: his work as a student in Rome until the 1872 trip to New Orleans; early maturity, 1873–81; mid-career, 1881–90; and late work, 1891–1912. Each section is introduced by a general essay and a detailed chronology that identifies the central issues and events—trips abroad, exhibitions, sales to dealers, contacts with other artists, and cultural outings—relevant to those years of the artist's life. Each of the 392 works in the exhibition is fully illustrated and discussed in individual entries that include a selected bibliography, a list of exhibitions, and a complete history of previous owners. The evolution, through exquisite preparatory drawings, of the artist's ambitious history paintings of the 1860s is fully documented. Great family portraits, such as the monumental Bellelli Family of the 1860s, are considered in relation to Degas's self-portraits and portraits of his colleagues Tissot, Cassatt, and Manet. Degas's lively depictions of racetrack scenes and jockeys are examined in works ranging from the 1860s to the early 1900s. His ballet pictures are studied with equal comprehensiveness, from his first treatment of the subject to such key paintings of the 1870s as the two versions of The Dance Class to the last brilliantly worked pastels. Each of the series of Degas's maturity—laundresses, milliners, brothel scenes, landscapes, and bathers—is documented with major works in oil or pastel and supplemented by related drawings, bronzes, monotypes, and prints. A special effort has been made to include works that are little known (for example, Degas's photographs), and an emphasis has been placed on works made early in the artist's career—largely in Italy—and late in his life, when he achieved in his bathers, coiffures, and dancers a powerful fusion of bold line and intense color. [This book was originally published in 1988 and has gone out of print. This edition is a print-on-demand version of the original book.]

Degas, 1834–1917

Druick, Douglas

Boggs, Jean Sutherland

Loyrette, Henry

This handsome publication, which accompanies a major exhibition at The Metropolitan Museum of Art, is a lively and engaging account of the artistic scene in Paris in the 1860s, the years that witnessed the beginnings of Impressionism. For the first time the interactions and relationships among the group of painters who became known as the Impressionists are examined without the over-worn art historical polarities commonly evoked: academic versus avant-garde, classicist versus romantic, realist versus impressionist. A host of strong personalities contributed to this history, and their style evolved into a new way of looking at the world. These artists wanted above all to give an impression of truth and to have an impact on or even to shock the public. And they wanted to measure up to or surpass their elders. This complex and rich environment is presented here―the grand old men and the young turks encounter each other, the Salon pontificates, and the new generation moves fitfully ahead, benignly but always with determination.Origins of Impressionism gives a day-by-day, year-by-year study of the genesis of an epoch-making style. Nine essays review the Parisian art world before Impressionism ("The Salon of 1859") and the traditional genres both as they were known and as they would be transformed by the New Painting ("History Painting," "Realist Landscape," "The Nude," "Figures in Landscape," "Still Life," "Portraits and Figures," "Impressionist Landscape," and "Modern Life"). Each is illustrated with an abundance of works by the new artists as well as by those who made up the rest of the artistic milieu. The breadth and depth of the art world become evident and our understanding is further expanded by a wealth of contemporaneous comments and criticism. The relations between artists―Manet and Degas, Cézanne and Pissarro, Monet and Bazille, among others―are made clear, and their implications are explored. Insightful commentary brings new dimensions to Monet, Fantin-Latour, and Renoir. Throughout, the history of this period is greatly augmented and much sharpened. Bibliographies and provenances are provided for each of the almost two hundred works in the exhibition, and there is an illustrated chronology. With more than two hundred superb color plates, this informative survey is an essential work for both the general reader and the scholar. [This book was originally published in 1994 and has gone out of print. This edition is a print-on-demand version of the original book.]

Origins of Impressionism

The Private Collection of Edgar Degas

Dumas, Ann

Ives, Colta

Collections, Catalogs & Exhibitions

Master Drawings By Picasso

A detailed, scholarly study of Picasso's drawings analyzes 102 seminal works, examining his draftsmanship as a key to understanding the complexity of Picasso's art

Master Drawings by Picasso

George Braziller, Inc.

Origins of impressionism

Loyrette, Henri

Harry N.Abrams, Inc.

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