Growing Up With The Impressionists

Julie Manet, the niece of Edouard Manet and the daughter of the most famous female Impressionist artist, Berthe Morisot, was born in Paris on 14 November 1878 into a wealthy and cultured milieu at the height of the Impressionist era. Many young girls still confide their inner thoughts to diaries and it is hardly surprising that, with her mother giving all her encouragement, Julie would prove to be no exception to the rule. At the age of ten, Julie began writing her `memoirs' but it wasn't until August 1893, at fourteen, that Julie began her diary in earnest: no neat leather-bound volume with lock and key but just untidy notes scribbled in old exercise books, often in pencil, the presentation as spontaneous as its contents. Her extraordinary diary - newly translated here by an expert on Impressionism - reveals a vivid depiction of a vital period in France's cultural history seen through the youthful and precocious eyes of the youngest member of what was surely the most prominent artistic family of the time.

A collection of artwork for children by Vincent van Gogh and other French artists.

Water and light have seduced artists through the years and the quality of these elements at the New Jersey Shore continues to attract artists to this day. Between the late 1800s and 1940, an inspired group of painters were drawn to the New Jersey coastline, forming communities of artists. Jersey Shore Impressionists breaks new ground in the history of American art by recognizing the distinct influence of New Jersey and its Shore on impressionist era American painters. This book establishes ¿ for the first time ¿ a category of impressionist American painters who focused on, or were profoundly influenced by, the landscapes and seascapes of this Shore ¿ from Sandy Hook and Highlands to the Barnegat Bay region to Cape May. ¿Not since 1964, nearly 50 years ago, and only once before that in 1938 has there been published a book on painters in New Jersey,¿ says the book¿s author, Roy Pedersen. ¿Never until now has there appeared a survey of the regional impressionist painters of New Jersey.¿ Jersey Shore Impressionists is produced in conjunction with an exhibition at the Morven Museum & Garden in Princeton, NJ., which seeks to examine how the New Jersey shore was home to artist colonies whose output rivaled that of the better-known colonies of Old Lyme and Cos Cob, Connecticut, and Bucks County, Pennsylvania. In a Foreword, Richard J. Boyle, former director of the Pennsylvania Academy of the Fine Arts, describes the foundation of art colonies, and how they traveled from origins in mid-nineteenth century France to the plein-air attraction of the Jersey Shore's ¿special light.¿ The first art colony ¿ at Manasquan ¿ forms around 1880 as young artists fresh from European training in Germany, France and Italy begin to arrive, and the book includes work from these artists ¿ Will Hicok Low, Theodore Robinson, Albert Grantley Reinhart, Charles Freeman and Caroline Coventry Haynes. The next generation ¿ Edward Boulton, Ida Wells Stroud, Julius Golz ¿ trained in America, join and form new colonies to paint the unique light as well as the activities of the Shore. The passionate work created by these artists stands as an important, but unsung, chapter of American Impressionism and is celebrated in this book, establishing the important contribution to American art in general, and New Jersey¿s cultural heritage in particular.

"This illustrated publication accompanies a major exhibition at the Metropolitan Museum, the first retrospective presentation of Hassam's work in a museum since 1972. Unique to this volume are an account of Hassam's lifelong campaign to market his art, a study of the frames he selected and designed for his paintings, and an unprecedented lifetime exhibition record. Included in addition are a checklist of works in the exhibition and a chronology of Hassam's life. All works in the exhibition as well as comparative materials are reproduced."--BOOK JACKET.

“A luminous, Marquez-esque tale” (O, The Oprah Magazine) from the New York Times bestselling author of The Museum of Extraordinary Things: a forbidden love story set on a tropical island about the extraordinary woman who gave birth to painter Camille Pissarro—the Father of Impressionism. Growing up on idyllic St. Thomas in the early 1800s, Rachel dreams of life in faraway Paris. Rachel’s mother, a pillar of their small refugee community of Jews who escaped the Inquisition, has never forgiven her daughter for being a difficult girl who refuses to live by the rules. Growing up, Rachel’s salvation is their maid Adelle’s belief in her strengths, and her deep, life-long friendship with Jestine, Adelle’s daughter. But Rachel’s life is not her own. She is married off to a widower with three children to save her father’s business. When her older husband dies suddenly and his handsome, much younger nephew, Frédérick, arrives from France to settle the estate, Rachel seizes her own life story, beginning a defiant, passionate love affair that sparks a scandal that affects all of her family, including her favorite son, who will become one of the greatest artists of France. “A work of art” (Dallas Morning News), The Marriage of Opposites showcases the beloved, bestselling Alice Hoffman at the height of her considerable powers. “Her lush, seductive prose, and heart-pounding subject…make this latest skinny-dip in enchanted realism…the Platonic ideal of the beach read” (Slate.com). Once forgotten to history, the marriage of Rachel and Frédérick “will only renew your commitment to Hoffman’s astonishing storytelling” (USA TODAY).

Images of children and families abound in the works of the French Impressionists, from Claude Monet's portraits of his young sons to Mary Cassatt's endearing images of mother and child. In Impressionist Children, Greg M. Thomas offers new perspectives on some of the most famous paintings in art history, explaining how they reflect the dominant social, cultural, and political aspects of Parisian middle-class life in the late 1800s. Drawing on letters, children's books, tourist guidebooks, and 19th-century texts on child development, parenting, and education, Thomas skillfully demonstrates how childhood became a crucial theme for its embodiment of adult ideas about childhood, the family, sexuality, work and leisure, national culture, and, above all, the formation and reproduction of bourgeois identity. He discusses paintings, prints, drawings, and sculptures by Impressionist artists and investigates the influence of popular visual culture--fashion, toys, studio photography, and illustrations in books, magazines, and park guides--on the Impressionists' conceptualization of childhood and family relations.

New York Times Bestseller “Anyone who has ever lost themselves in Monet’s color-saturated gardens or swooned over Degas’s dancers will enjoy this revealing group portrait of the artists who founded the Impressionist movement. . . . For the armchair dilettante, as well as the art-history student, this is lively, required reading.” — People The first book to offer an intimate and lively biography of the world’s most popular group of artists, including Manet, Monet, Pissarro, Cézanne, Renoir, Degas, Sisley, Berthe Morisot, and Mary Cassatt. Though they were often ridiculed or ignored by their contemporaries, today astonishing sums are paid for their paintings. Their dazzling works are familiar to even the most casual art lovers—but how well does the world know the Impressionists as people? Sue Roe's colorful, lively, poignant, and superbly researched biography, The Private Lives of the Impressionists, follows an extraordinary group of artists into their Paris studios, down the rural lanes of Montmartre, and into the rowdy riverside bars of a city undergoing monumental change. Vivid and unforgettable, it casts a brilliant, revealing light on this unparalleled society of genius colleagues who lived and worked together for twenty years and transformed the art world forever with their breathtaking depictions of ordinary life.

An Epic Story Of A Boy S Search For Identity In A World Which Seems To Have No Place For Him. At The Turn Of The Century In A Remote Corner Of India, An English Civil Servant And A Reluctant Hindu Bride Cross Paths During A Cataclysmic Rainstorm. Nine Months Later A Boy Is Born& Pran Nath S Startling Whiteness Is Regarded As A Sign Of Nobility Till His True Parentage Is Revealed. Ejected From His Father S House, He Begins A Haphazard Journey Through The Bizarre Dark Side Of The British Empire. As He Travels Across The World, From Bombay To London, From A Mouldering Norfolk Public School To Oxford And Paris, Everyone Sees Him With A Different Eye. The Impressionist Is A Comic Saga About History, Identity And Home. It Is The Epochal Debut Of An Exceptional Writer.

This study analyzes the impact of color-making technologies on the visual culture of nineteenth-century France, from the early commercialization of synthetic dyes to the Lumière brothers’ perfection of the autochrome color photography process. Focusing on Impressionist art, Laura Anne Kalba examines the importance of dyes produced in the second half of the nineteenth century to the vision of artists such as Edgar Degas, Pierre-Auguste Renoir, and Claude Monet. The proliferation of vibrant new colors in France during this time challenged popular understandings of realism, abstraction, and fantasy in the realms of fine art and popular culture. More than simply adding a touch of spectacle to everyday life, Kalba shows, these bright, varied colors came to define the development of a consumer culture increasingly based on the sensual appeal of color. Impressionism—emerging at a time when inexpensively produced color functioned as one of the principal means by and through which people understood modes of visual perception and signification—mirrored and mediated this change, shaping the ways in which people made sense of both modern life and modern art. Demonstrating the central importance of color history and technologies to the study of visuality, Color in the Age of Impressionism adds a dynamic new layer to our understanding of visual and material culture.