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正在检索... Science | Book | 759.4 M826S, 1987 | 1 | Stacks | 正在检索... 未知 | 正在检索... 不可借阅 |
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评论 (4)
出版社周刊评论
Morisot was a gutsy pioneer among the French impressionists. As a standard-bearer of the avant-garde, she created a scandal by helping to organize a public auction of their works, something very few artists had dared to do. Defying the advice of her parents and Manet, she remained in Paris when Prussian troops besieged the city. In her artistic technique she was no less daring. Around 1874, in pictures of tourists and yacht-filled rivers, she broke through to an abbreviated, shorthand style ahead of her contemporaries. Disregarding her own view that Monet had taken landscape painting to its farthest limits, her late oils of gardens are brilliant fireworks of color. This catalogue of a retrospective exhibition that is to tour the country stands on its own as a valuable study. What it lacks is a sense of the inner woman, a shortcoming that has bedeviled most books about her. BOMC featured dividend. (November 20) (c) Copyright PWxyz, LLC. All rights reserved
Choice 评论
After years of neglect and superficial criticism, Berthe Morisot is coming into her own as the significance of her contributions to Impressionism gains broader and deeper respect among scholars. This reassessment, partially the result of efforts to rectify the injustices of past sexist commentaries, has led to the recent publication of two substantial works about Morisot, her life, and her art. The first, K. Adler and T. Garb's Berthe Morisot (CH, Nov '87), contributes much to the understanding of the artist's relationship to her social and cultural milieu. Berthe Morisot, Impressionist is also a major addition to the literature on the artist, and, of the two, undoubtedly the more comprehensive. Produced as a catalog to accompany an exhibition of 104 Morisot works drawn from public and private collections in Europe and the US, this book is an obvious and successful effort as the first authoritative monograph on the artist and her life. Stuckey (Art Institute of Chicago) and Scott (Peale House Galleries, The Pennsylvania Academy of Fine Arts) were assisted by Lindsay, an art historian with considerable expertise on Impressionism. Their text features a lengthy and superbly researched biography that effectively documents Morisot's role in the unfolding of the Impressionistic movement. Scott's essay on the artist's style and technique is offered from the perspective of a practicing painter who has studied Morisot's work for 15 years. The book contains 123 excellent color plates and 116 black-and-white illustrations documenting all of the exhibition pieces. This important work should be acquired by all libraries that have a commitment to modern art.-J.A. Day, University of South Dakota
出版社周刊评论
Morisot was a gutsy pioneer among the French impressionists. As a standard-bearer of the avant-garde, she created a scandal by helping to organize a public auction of their works, something very few artists had dared to do. Defying the advice of her parents and Manet, she remained in Paris when Prussian troops besieged the city. In her artistic technique she was no less daring. Around 1874, in pictures of tourists and yacht-filled rivers, she broke through to an abbreviated, shorthand style ahead of her contemporaries. Disregarding her own view that Monet had taken landscape painting to its farthest limits, her late oils of gardens are brilliant fireworks of color. This catalogue of a retrospective exhibition that is to tour the country stands on its own as a valuable study. What it lacks is a sense of the inner woman, a shortcoming that has bedeviled most books about her. BOMC featured dividend. (November 20) (c) Copyright PWxyz, LLC. All rights reserved
Choice 评论
After years of neglect and superficial criticism, Berthe Morisot is coming into her own as the significance of her contributions to Impressionism gains broader and deeper respect among scholars. This reassessment, partially the result of efforts to rectify the injustices of past sexist commentaries, has led to the recent publication of two substantial works about Morisot, her life, and her art. The first, K. Adler and T. Garb's Berthe Morisot (CH, Nov '87), contributes much to the understanding of the artist's relationship to her social and cultural milieu. Berthe Morisot, Impressionist is also a major addition to the literature on the artist, and, of the two, undoubtedly the more comprehensive. Produced as a catalog to accompany an exhibition of 104 Morisot works drawn from public and private collections in Europe and the US, this book is an obvious and successful effort as the first authoritative monograph on the artist and her life. Stuckey (Art Institute of Chicago) and Scott (Peale House Galleries, The Pennsylvania Academy of Fine Arts) were assisted by Lindsay, an art historian with considerable expertise on Impressionism. Their text features a lengthy and superbly researched biography that effectively documents Morisot's role in the unfolding of the Impressionistic movement. Scott's essay on the artist's style and technique is offered from the perspective of a practicing painter who has studied Morisot's work for 15 years. The book contains 123 excellent color plates and 116 black-and-white illustrations documenting all of the exhibition pieces. This important work should be acquired by all libraries that have a commitment to modern art.-J.A. Day, University of South Dakota