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《学校图书馆杂志》(School Library Journal)书评
YA-- A lavishly illustrated, large-format addition to the growing body of literature on the French Impressionist painters of the middle and late 19th century. However, this book has a unique difference, as it explores not only the styles, techniques, and subjects of the artists themselves--Monet, Renoir, Manet, Degas, etc.--but also the close relationship of them and their art to the whole cultural and sociopolitical milieu in which they worked. Explained are the connections between Impressionist art and politics, music, architecture, literature, the cabarets, and the opera. The book also features a gazetteer of the towns and regions of France that were painted, illustrated with current photographs. A wonderfully written and illustrated source book for YA students not only of art but also of French and European history and culture.--Richard Lisker, Fairfax County Public Library, VA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
出版社周刊评论
In this fresh, enlightening group portrait of the impressionist circle, University of London art historian Adams views their art in the context of the social and cultural transformation France underwent in the second half of the 19th century. Baron Georges Haussmann's radical rebuilding of Paris made the ``city of light and space'' a laboratory of accessible social observation for the impressionist painters. Far from being isolated figures, they had strong links with writers, were steeped in the music of their time and were deeply affected by the Franco-Prussian War, the Prussian occupation and the swift collapse of Napoleon III. What was revolutionary about their art, contends Adams, was not so much its technique or content as the unshackled artist's changed relationship to society. This handsomely illustrated survey ends with a gazeteer that uses color photographs and maps to document the impressionists' extant studios and the sites they painted. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved
《书目》(Booklist)书评
Three volumes that cover the world of impressionism from distinctive viewpoints. Adams' survey of the movement in France is the most conventional of these studies, but even here the added focus on the social and historical milieu of nineteenth-century France lends a punch to the analysis. The illustrations are numerous and portray the works in full and in detail, even if they're of varying quality. A nice touch is the juxtaposition of the individual paintings with photographs of the scene painted. Biographies of artists appended. Index. Lurie sends her readers off to the Paris suburbs and the French countryside to see what remains of what originally inspired these painters. Surprisingly, much of the original scenes captured on canvas remain intact, and Lurie provides directions to and information on the sites. The book pairs reproductions of the paintings with photographs of the scenes as they are today--which, though both the reproductions and the photographs are fairly small, proves to be an effective device. Lurie's choice of settings is necessarily selective and limited, but within this compass her book is an evocative guide. Maps and a painting checklist are included. No index. Broude's book is an exceptional and ambitious project that both traces the influence of the French impressionist movement and rethinks the history of international impressionist style. Broude fires the opening salvo in an essay that addresses the role of French painting in the nineteenth century and in the impressionist movement in particular. This is followed by chapters written by experts on geographical regions where impressionism flourished, either as a response to French impressionism itself or as a more general reaction to nineteenth-century art history. These regional variations prove fascinating; the works and philosophies of many unrecognized painters are described and illustrated in an excellent series of reproductions. While Broude's positions may complicate more orthodox histories of modern art, the evidence and the argument are stunningly made and displayed. Notes, bibliography; index. ~--John Brosnahan
《图书馆杂志》(Library Journal )书评
The main text of this book provides a fairly standard history of Impressionism, although it is marred by a number of glaring editorial errors. The special inserts or ``Features'' in each chapter help raise the book above the ordinary by focusing on various social influences on the artists, such as ``The Changing Face of Paris,'' ``Japan and the Impressionists,'' ``The Impressionists and Entertainment,'' etc. The many contemporary photographs used in these sections are of great interest, but the inserts interrupt the main text so frequently that they become rather annoying. A unique feature is the ``Gazeteer of Impressionism,'' which is designed to help today's tourist locate the haunts and painting sites of the Impressionists and is illustrated with contemporary and modern photographs of the locales. Lack of footnotes and bibliography limit the book's usefulness. Most readers would be better served by Robert L. Herbert's Impressionism: Art, Leisure, and Parisian Society ( LJ 10/15/88).-- Lynell A. Morr, John & Mable Ringling Museum of Art Lib., Sarasota, Fla. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.