French Impressionism

In the midst of the 1970s, where the immersion of culture battles made an entrance in the realms of politics and gender issues, Protect Renoir (1974) by Helen Frankenthaler was seen as polarizing in multiple dimensions as critics believed she was trying to defend the “male gaze” - the idea that women bodies were used as an object to satisfy male sexual desire within the visual representation domain. Protect Renoir is considered to be rebellious, it not only embraces the appropriation of Renoir’s fleshy colors palette but also elevates female sexuality through its dampness texture created by the pour of turpentine which allows the audience to view the legacy of Renoir in its true light. Frankenthaler used her status as a female painter to bring back the concept of “feminine mystique” and the embracement of sensuality in female sexuality without being interfered with moralizing didacticism of what was considered to be decadent gaze in our modern political correctness era.

Charles Lucien Moulin, artista e intimo amico di Henri Matisse, sceglie per se di vivere l'arte in maniera singolare e insolita.
La vita di un artista adeso alla Natura quale fonte primaria di ispirazione. La vita anarchica di un uomo al limite dell'incredibile.

Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950: Ed. Christel H. Force, 2020. London : Bloomsbury, 288pp., 16 colour & 56 b/w illustrations. Hardback £90, Paperback £24.99, eBook and/or EPUB £81. ISBN 9781501342769 (hardback), ISBN 9781350282841 (paperback), ISBN 9781501342776 (eBook), ISBN 9781501342783 (eBook & EPUB)

This book, edited by Christel H. Force and published as part of the growing Bloomsbury series on ‘Contextualising Art Markets’ edited by Kathryn Brown (Loughborough University) dissects the dealer networks responsible for disseminating French modernism internationally, from its beginnings to its solidification as a key part of the art historical canon. The timespan of 1850 to 1950 enables the authors to scrutinise every development of the aesthetic shift, from the Barbizon school to the ‘isms’ which took pride of place in the artistic hierarchy over time. Paris is presented as the centre of this revolution which radiated outward to the rest of the world, not just in Europe and North America, but also to Asia and South America.

Best known by her stage name, La Goulue (the Glutton), Louise Weber was one of the biggest stars of fin de siècle Paris, renowned as a cancan dancer at the Moulin Rouge. The subject of numerous paintings and photographs, she became an iconic figure of modern art. Her life, however, has consistently been misrepresented and reduced to a footnote in the stories of men such as Henri de Toulouse-Lautrec. Where most accounts dismiss her rise and fall as brief and rapid, the truth is that her career as a performer spanned five decades, during which La Goulue constantly reinvented herself-as a dancer, animal tamer, sideshow performer, and muse of photographers, painters, sculptors, and filmmakers.

With Beyond the Moulin Rouge, the first substantive English-language study of La Goulue's career and posthumous influence, Will Visconti corrects persistent myths. Despite a tumultuous personal life, La Goulue overcame loss, abusive relationships, and poverty to become the very embodiment of nineteenth-century Paris, feted by royalty and followed as closely as any politician or monarch.

Visconti draws on previously overlooked materials, including medical records, media reports across Europe and the United States, and surviving pages from Louise Weber's diary, to trace the life and impact of a woman whose cultural significance has been ignored in favor of the men around her, and who spent her life upending assumptions about gender, morality, and domesticity in France during the fin de siècle and early twentieth century.

Résumé
La partie « Nom de pays : le pays » dans À l’ombre des jeunes filles en fleurs se passe en Normandie. Quelle est son importance et quel rôle assume-t-elle dans l’œuvre ? Nous examinerons des passages de certains écrits de Proust et des extraits de la critique proustienne concernant ce sujet. L’objectif est de faire émerger les impressions que cette terre évoque dans l’œuvre proustienne.
En réalité, la Normandie de À l’ombre des jeunes filles en fleurs peut être considérée comme une galerie d’art: un véritable musée d’œuvres impressionnistes représentant les paysages normands. Certains personnages même du roman sont présentés à travers une sorte de regard impressionniste. Pouvons-nous donc parler de Proust comme écrivain impressionniste ?
Dans la partie centrale de notre étude, nous analyserons trois tableaux littéraires tirés de À l’ombre des jeunes filles en fleurs : la description de la Gare Saint Lazare (JFF, p. 6), trait d’union entre Paris et la Normandie, la description d’une falaise normande (JFF, p. 254-255) et la description du Port de Carquethuit (JFF, p. 192-193). Ces passages seront analysés et comparés respectivement à trois tableaux de Monet : La Gare Saint-Lazare, Claude Monet, 1877, (Musée d’Orsay), L’Aiguille et la falaise d’Aval, Claude Monet, 1885, (Massachusetts Musee Giverny) et Bateaux dans le port de Honfleur, Claude Monet, 1866, (Musée Marmottan Monet).
Nous présenterons enfin les résultats des analyses des significations des lieux dans les transpositions littéraires et figuratives « impressionnistes » de Proust et Monet.

Inspired by European impressionist paintings of open countryside, private gardens, and urban parks, American artists working in the years between 1887 and 1920 turned their attentions to the new landscapes being created in the fast-changing cities and rapidly emerging suburbs of their own country. Up and down the eastern seaboard, a middle-class idyll was brought to life with the construction of railways, trams, and parkways that connected city centers to commuter suburbs, whose inhabitants increasingly turned to gardening as a leisure—and predominantly female—pursuit. "The two arts of painting and garden design are closely related," landscape architect Beatrix Farrand wrote in 1907, "except that the landscape gardener paints with actual color, line, and perspective to make a composition . . . while the painter has but a flat surface on which to create his illusion."

The Artist's Garden tells the intertwined stories of American art and the new American garden movement in the years on either side of the turn of the twentieth century. Anna O. Marley and her contributors showcase more than one hundred beautifully reproduced artworks by Cecilia Beaux, Mary Cassatt, William Merritt Chase, Childe Hassam, and others alongside the books, journals, and ephemeral artifacts that both shaped and were products of the garden movement. The volume's lavishly illustrated text considers topics that range from environmentalism to new printing technologies, from the genres of garden writing to the distinctions between public and domestic spaces or American and French impressionism.

Employing the interdisciplinary perspectives of horticultural and art history, The Artist's Garden places special emphasis on the mid-Atlantic region as the epicenter of a national garden movement and offers a new look into the impact of impressionism not on American painting alone, but on the nation's culture at large.

Questo lavoro nasce dalla volontà di ripercorrere, in poche pagine, la vita dell'artista olandese attraverso una selezione di opere meno conosciute.
Quando Van Gogh decise che sarebbe diventato artista, nessuno, e tanto meno lui stesso, immaginava celasse uno straordinario talento artistico. Tuttavia in un arco di tempo, sorprendentemente breve, Vincent si trasformò da principiante maldestro in artista vero e proprio.

This is the complete 132 pages of this monumental work, with my notes showing themes, use of doubling, form, harmony and much more.

One of Ravel's longest works, it is a seldom played, or studied, masterpiece.

A perfect work to examine for new harmonic and orchestration choices to add towards your own writing.

Nell'ambito delle attività didattica del corso di laurea magistrale in Storia dell'arte gli studenti dell'insegnamento di Storia della critica d'arte contemporanea propongono alcune riflessioni sulla critica militante in Francia nella seconda metà dell'Ottocento, con particolare riguardo alle ricerche degli artisti in ambito realista, impressionista e simbolista.

Une histoire globale des avant-gardes picturales se doit d’expliquer pourquoi celles-ci apparurent en certains endroits et pas en d’autres, comment elles circulaient entre les pays et les capitales, ce qui les portait et si elles rompaient réellement avec leur temps, sachant que la plupart finirent par connaître une véritable canonisation.
Les avant-gardes lièrent leur sort au développement des journaux et des revues, c’est-à-dire à celui des techniques d’impression et de reproduction en série. Elles profitèrent également d’un vaste mouvement de circulation des idées, des hommes et des objets avec le développement des réseaux ferrés et des transports maritimes.
Dans le même temps se forgeaient les identités nationales, férues de tradition et de préservation des cultures. L’approche géopolitique met au jour ce processus par lequel les plasticiens novateurs recoururent à la référence étrangère pour s’opposer aux institutions nationales, travaillèrent à internationaliser leurs réputations pour mieux s’imposer contre le refus de l’innovation porté par le nationalisme, ou, au contraire, se laisser récupérer par des partis nationalistes et révolutionnaires.
Mais à côté des stratégies, réseaux et marchés, place est faite à l’analyse du contexte culturel et moral, économique et politique, matériel et social, affectif et spirituel des artistes des avant-gardes à partir de 1848. Jusqu’à la rupture de 1920, quand ces avant-gardes deviennent politiques, plaçant l’avenir de l’art dans celui de la Révolution.

Lecture for the inauguration of the "Medardo Rosso" exhibition at the Henry Moore Institute, Leeds, UK on 13 July 1994, organised by Robert Hopper at the Henry Moore Lecture Theatre, Leeds City Art Gallery.  The lecture introduces Rosso's work in the context of Italian 19th-century art, the first Venice Biennale and Rosso's relation to French Impressionism and European Modernism.

Worth noting, is that Wall-Romana relies heavily on biographical explanatory arguments for constructing his historiographical model and that this seems genuinely at odds with his over-zealous advocacy of post-structuralist methods such as hermeneutics, post-structuralist ontology such as corporeality, as well as, post-structuralist theories such as, queer theory and affect theory. From a traditional biographical argument, Wall-Romana presents Abel Gance as planting a seed in Epstein for the latter’s later flourishes of philosophical poetry in the cinematic milieux, however Wall-Romana also claims that Epstein’s queerness was rigourously individualized articulating Epstein’s oeuvre in profoundly unique ways. Gance is an author inscribing Epstein, yet Epstein is paradoxically erasing those inscriptions to produce his work from a state of tabula rasa. We can provide Wall-Romana will a modest amount of leeway given that the crux of his thesis regards Epstein’s gravitational flux at a crossroads in the discourse of cinematic epistemology. A real problem arises when Wall-Romana is unable to properly theorize whether the crossroads constitutes a bundle of things or the frayed ends of a single thing, in a phenomenological sense for the understanding of cinematic epistemology. I will elaborate on these ideas later in this paper.

*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.

When the Japanese borders opened in 1853 and the country began
exporting goods into Europe, fascination with Japan emerged in European
society. This fascination with Japan, also called Japonisme, applied to
European culture and art; artists incorporated Japanese motifs within
paintings and adopted Japanese artistic compositions which altered many
Impressionists’ careers. Fast forward to 2015—the Museum of Fine Arts
Boston had a heated controversy regarding their summer event, “Kimono
Wednesday,” which encouraged museum visitors to stand in front of a
Monet painting while wearing a replica of the kimono that Monet depicted.
The event sparked conversations about race within art, with the central
question of whether or not Japonisme is a form of cultural appropriation.
This paper aims to intertwine the discourses on race and art, answering the
questions of whether Japonisme—an attempt to celebrate Japanese culture and traditions in Western art—is inherently racist. In this paper, I discuss Japonisme from a modern-day lens, and analyze if Japonisme is truly a form of appropriation by Europeans. I will first explore the history of Japanese fascination in Europe, before moving onto why Impressionists, such as Monet, took upon Japanese influences. Then, I will move onto the twenty-first-century discourse on cultural appropriation, and try to understand the connection between racism and art. Finally, I will discuss whether or not museums have the responsibility to utilize their platform to bring awareness to such discourses and promote a conversation on race and cultural appropriation.

A comparative study of a very unusual work … oil on paper … showing numerous stylistic characteristics attributable to Vincent van Gogh. The studio practice techniques support this attribution. Research of van Gogh's correspondence and motifs provides an explanation for this unique atypical work. Adrian Spong

In Pursuit of Universalism is the first comprehensive, English-language study of early twentieth-century Japanese modern art. In this groundbreaking work, which is also the inaugural recipient of the Phillips Book Prize (awarded by the Phillips Collection Center for the Study of Modern Art), Alicia Volk constructs a critical theory of artistic modernism in Japan between 1900 and 1930 by analyzing the work of Yorozu Tetsugorô, whose paintings she casts as a polemic response to Japan's late-nineteenth-century encounter with European art. Volk places Yorozu at the forefront of a movement that sought to define Japanese art's role in the world by interrogating and ultimately refusing the opposition between East and West. Instead, she vividly demonstrates how Yorozu reframed modern art's dualistic underpinnings and transposed them into an inclusive and synthetic relation between the local and the universal. By looking closely at questions of cultural exchange within modern art, In Pursuit of Universalism offers a new and vital account of both Japanese and Euroamerican modernism. Volk's pioneering study builds bridges between the fields of modern and Asian art and takes its place at the forefront of the emerging global history of modern art.

Reviews:
“Masterfully written. . . . Alicia Volk embarks upon a fascinating journey to develop an alternative perspective for narrating the complexities of the Japanese art scene. . . . Volk’s stimulating book definitively illuminates a new horizon for the field of modern Asian art. . . . It is precisely what the discipline needs.”— Journal Of Oriental Studies

“Forceful and eloquent. . . . Volk masterfully unravels the knotty strands that coalesced to shape one individual artist’s perception of self and his work within existing academic, institutional, and professional structures. . . . [The] book deserves praise for being a substantially rigorous and provocative probe into the search for universalism in a differentiated world.”—International Journal Of Asian Studies

“Deserves to be read by all historians of modern art and East Asian culture.”—Journal Of Asian Studies

“An impressive book, beautifully produced and sustaining intellectual rigour with its detailed, stimulating research.”— Japanese Studies

“Excellent. . . . Exquisitely written.”—The Art Bulletin

"Written beautifully and compellingly... Volk has made an important contribution to the growing literature on alternative artistic modernisms." --The Journal of Japanese Studies

"In presenting readers with this most cogent argument for the emergence of Japanese modernism through the artistic engagement of one of its central players Volk has made a genuinely original contribution to the field."--New Zealand Journal of Asian Studies

"This is an... intellectually nourishing read, in which Volk's voluminous knowledge of art movements and discourse creates a text of commanding erudition."--The Japan Times

“Volk's impressive study rethinks the East-West binary often reiterated in discussions of Japanese modernism by reinserting local aspects into the universalizing tendencies of modernism itself. The book makes an important contribution to the growing literature on modern Japanese art history by providing an alternative comparative framework for understanding the global development of modernism that decenters Euro-America. Rigorously historical in her critique, Volk destabilizes our understanding of the Japanese experience of modernity through the prism of Yorozu's singular vision of the self, leaving us questioning conventional wisdom and contented to wobble.”—Gennifer Weisenfeld, Duke University

“In Volk's affectingly stunning and deeply reflective study of the Japanese artist Yorozu Tetsugorō's work between 1910-1930, we have a profoundly historical reminder of how modernism everywhere struggled to meet the demands of the new with the readymades of received artistic practices. In this study of Yorozu's utopian universalist project, Volk has imaginatively broadened our understanding of the modernist moment and perceptively captured its global program to unify art and life, contemporary culture and history.”—Harry Harootunian, author of Overcome by Modernity: History, Culture and Community in Interwar Japan

Einflüsse und Annäherungen fernöstlicher asiatischer Musik in dem Klavierwerk Claude Debussys - Debussys Weg in eine neue musikalische Ästhetik im Spiegel seiner Zeit, bewertet anhand einer detailierten Anaylse seiner Klavierkompositionen und seinem historischen Umfeld. Diplomarbeit aus dem Jahr 2001