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Pissarro, Neo-Impressionism, and the Spaces of the Avant-Garde by Martha Ward (1996, Hardcover)
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Pissarro, Neo-Impressionism, and the Spaces of the Avant-Garde by Martha Ward Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less
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About this product
Product Identifiers
PublisherUniversity of Chicago Press
ISBN-100226873242
ISBN-139780226873244
eBay Product ID (ePID)60850
Product Key Features
Number of Pages372 Pages
Publication NamePissarro, Neo-Impressionism, and the Spaces of the Avantgarde
LanguageEnglish
SubjectHistory / Modern (Late 19th Century to 1945), Individual Artists / General, Criticism & Theory, Aesthetics, European, History / General
Publication Year1996
TypeTextbook
Subject AreaArt, Philosophy
AuthorMartha Ward
FormatHardcover
Dimensions
Item Height2.5 in
Item Weight40.3 Oz
Item Length10 in
Item Width7 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN95-006881
Dewey Edition20
IllustratedYes
Dewey Decimal759.4
Table Of ContentList of Illustrations Abbreviations Acknowledgments Introduction 1: The Monograph and the Oeuvre 2: The Neo-Impressionist Avant-Garde: Critics, Spaces, Histories 3: Pissarro and the New Technique 4: Transcending Touch, Time, and Place 5: Avant-Gardism and the "Advance" 6: Psychophysical Aesthetics 7: The Life of La Langue populaire: Bernier and Luce 8: Pissarro in 1890 9: Avant-Gardes and Socialist Popes: Art World Inversions 10: Neo-Impressionism in the Early 1890s 11: The Monograph and the Life Appendix 1 The Avant-Garde Appendix 2 The Study of Neo-Impressionism Appendix 3 Pissarro's Neo-impressionist Paintings at the Durand-Ruel Gallery Notes Bibliography Index
SynopsisMartha Ward tracks the development and reception of neo-impressionism, revealing how the artists and critics of the French art world of the 1880s and 1890s created painting's first modern vanguard movement. Paying particular attention to the participation of Camille Pissarro, the only older artist to join the otherwise youthful movement, Ward sets the neo-impressionists' individual achievements in the context of a generational struggle to redefine the purposes of painting. She describes the conditions of display, distribution, and interpretation that the neo-impressionists challenged, and explains how these artists sought to circulate their own work outside of the prevailing system. Paintings, Ward argues, often anticipate and respond to their own conditions of display and use, and in the case of the neo-impressionists, the artists' relations to market forces and exhibition spaces had a decisive impact on their art. Ward details the changes in art dealing, and chronicles how these and new freedoms for the press made artistic vanguardism possible while at the same time affecting the content of painting. She also provides a nuanced account of the neo-impressionists' engagements with anarchism, and traces the gradual undermining of any strong correlation between artistic allegiance and political direction in the art world of the 1890s. Throughout, there are sensitive discussions of such artists as Georges Seurat and Paul Signac, as well as Pissarro. Yet the touchstone of the book is Pissarro's intricate relationship to the various factions of the Paris art world.
LC Classification NumberND547.5.N37W37 1996
