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摘要
摘要
This book is the catalogue for an exhibition held at the National Gallery in London from November 1990 to April 1991.
评论 (3)
《书目》(Booklist)书评
Through investigation of artists' techniques and materials via detailed scientific examination, the contributors to this volume shed new light on the art of impressionism. In describing how artists actually practiced the theory of impressionism, the volume uses research in both subject and technique to suggest the stages of a work's development, while chemical analysis of pigments tells how colors were mixed and applied to the canvas. Fifteen canvases by such painters as Monet and Pissarro are scrutinized in this inquiry, revealing just how each artist worked while often demolishing some of the most cherished myths of the impressionist movement. The illustrations, ranging from excellent colorplates to X rays of canvases, expose both the underlying foundation and the visual effects of impressionism at work. Bibliography, glossary, chronology, and biographies of artists appended. ~--John Brosnahan
Choice 评论
Almost from the first, there was a discernable ambivalence about the goals of Cubism and related forms of early 20th-century abstraction, even among the very instigators of those radical departures from tradition. By the close of WW I counterrevolutionary sentiments in the Mediterranean countries had taken form in a widespread classical revival that enlisted support from even the most conspicuous members of the avant-garde, such as Picasso, Leger, and Gris. Those tendencies were reinforced by others previously identified with the cause of change, including Derain, De Chirico, and Maillol, along with many sympathizers, some of them now obscure. This handsomely produced, richly illustrated catalog documents an ambitious exhibition at the Tate Gallery devoted to that signal turn of creative disposition, one that has only recently attracted serious reconsideration (see C. Green, Cubism and Its Enemies, CH, Mar'88; K.E. Silver, Esprit de Corps, CH, Feb'90). The character and significance of that undeservedly neglected episode in the history of modern art is discussed in an introduction by the exhibition organizers, Cowling and Mundy. Essays by other experts treat a stimulating variety of related issues. Biographical commentaries and catalog entries have been compiled for each of the 45 artists and 174 works. The resulting juxtaposition of famous and less familiar works of the period is in itself informative, although some of the inclusions, especially the five offerings by Matisse--however worthy in their own right--seem hardly to confirm the governing premises of the enterprise. In fairness, however, the staging of any exh 1991jul 28 11/12 28-6070 HUMANITIES Art & Architecture ND192x 90-71601 British CI Impressionism, by David Bomford et al. National Gallery/Yale, 1991 (c1990). 227p bibl ISBN 0-300-05035-6, $50.00; ISBN 0-300-05036-4, $24.95 This book is the result of a didactic exhibition in 1990/91 at London's National Gallery that examined French Impressionist painting from several fresh viewpoints. An introductory section examines the artistic culture and practice of the 1860s, the training in the Academie francaise and private ateliers, the variety of available materials (pigments, types of canvas, brushes, and their properties), the various theories of color and light, and, finally, the Impressionist rejection or employment of this knowledge. It is a clear and accurate summation of studies that have been scattered in the periodical literature. The discussion puts to rest many myths surrounding Impressionist painting, among them the notions that the ideas of "optical mixture" were employed at all, and that plein-air painting was an Impressionist invention. The second part is a detailed analysis of 15 Impressionist paintings from the National Gallery's collection, including several pivotal examples (Manet's Music in the Tuileries, and Renoir's Parapluies). All are subjected to a detailed scientific and historical analysis resulting in first-rate discussions of what constitutes Impressionist painting from both scientific and art-historical perspectives. The text is amply supplemented by numerous illustrations, a bibliography, and capsule biographies. Highly recommended for all libraries. L. R. Matteson University of Southern California
《图书馆杂志》(Library Journal )书评
This is the third book in the ``Art in the Making'' series and a catalog for a recent show at London's National Gallery. Drawing on results of the scientific techniques used to probe beyond the observers' usual perceptions, the book also makes use of 19th-century light and color theory to explore the Impressionists' craft, from the arrangement of paint on the palette and the invention of tin paint tubes and flat ferrule brushes to the finishings of canvas linings and framing requirements. While the illustrations enhance the thesis--showing, among others, microscopic photography of brush strokes and materials employed--the text is uneven in its interpretation of Impressionist artists, especially Cezanne. (See John Rewald's Cezanne: A Biography , Abrams, 1986, to get a better background on the artist.) The book, however, is significant for its clarity and emphasis in debunking plein-air outdoor painting and providing a history of art suppliers, dealers, and exhibitions. The text corresponds to the bibliography and contains a glossary for those unfamiliar with the terms. A recommended purchase.-- Ellen Bates, New York (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.