American Impressionism Realism

An examination of the continuities and differences between American Impressionism and Realism. Copyright © Libri GmbH. All rights reserved.

An exhibition publication featuring curatorial essays and works from the Metropolitan Museum of Art, New York

An examination of the continuities and differences between American Impressionism and Realism. Copyright © Libri GmbH. All rights reserved.

Eugenia Errazuriz, one of the beauties of the late ninteenth century, attests to the collectors' own love of the beautiful in American art.

Explores more than 70 Impressionist and Realist paintings from the Metropolitan's collection. It presents works by some of America's foremost artists of the late nineteenth and early twentieth centuries, including Whistler, Sargent, Winslow Homer, Childe Hassam, and Mary Cassatt.

49 American impressionist and realist paintings and works on paper from the Margaret and Raymond Horowitz collection were presented, including works by William Merritt Chase, Childe Hassam, George Bellows, Maurice Prendergast, and William Glackens. This was the first time the collection had been on exhibition since it was shown at the Metropolitan Museum of Art in 1973.

The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-Franocois Raffaeelli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young's highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art.