Manet and the Execution of Maximilian


Book Description

Manet and the Execution of Emperor Maximillian ISBN 0-87070-423-0 / 978-0-87070-423-9 Paperback, 7.5 x 9.25 in. / 120 pgs / 35 color and 45 b&w. / U.S. $29.95 CDN $36.00 November / Nonfiction and Criticism




Perspectives on Manet


Book Description

Bringing forth fresh perspectives on Manet's art by established scholars, this volume places this compelling and elusive artist's painted ?uvre within a broader cultural context, and links his artistic preoccupations with literary and musical currents. Rather than seeking consensus on his art through one methodology, or focusing on one crucial work or period, this collection investigates the range of Manet's art in the context of his time and considers how his vision has shaped subsequent interpretations. Specific essays explore the relationship between Manet and Whistler; Emile Zola's attitude toward the artist; Manet's engagement with moral and ethical questions in his paintings; and the heritage of Charles Baudelaire and Clement Greenberg in critical responses to Manet. Through these and other analyses, this volume illuminates the scope of Manet's career, and indicates the crucial position the artist held in generating a modernist avant-garde aesthetic.




Manet/Velázquez


Book Description

Here approximately two hundred works by French and Spanish artists chart the development of this cultural influence and map a fascinating shift in the paradigm of painting, from Idealism to Realism, from Italy to Spain, from Renaissance to Baroque. Above all, these images demonstrate how direct contact with Spanish painting fired the imagination of nineteenth-century French artists and brought about the triumph of Realism in the 1860s, and with it a foundation for modern art."--BOOK JACKET.




Manet, Baudelaire and Photography


Book Description

"This book represents a radical reappraisal of the life and work of Edouard Manet. Through a thorough examination and interpretation of nearly every major painting (and many of the prints) Manet exhibited publicly between 1861 and 1882, the author arrived at the following conclusions. First, Manet was vitally and consistently concerned with the iconographical content of his major work; second, the iconographical content of Manet's work throughout his career was determined by a single underlying set of principles; third, the underlying principles from which Manet's iconography consistently derived had their origins in the aesthetics of Charles Baudelaire; fourth, the "form" of Manet's Baudelairean "content" was consistently derived from the appearance and ontology of mid-nineteenth century photography; fifth, Manet consistently presented emblematic, veiled self-portraits in his work; and sixth, the particular feature of Baudelairean aesthetic employed by Manet at any given time in his career was determined, to a large extent, by autobiographical concerns. The author argues that Manet's widely acknowledged adaptation of japonisme and "impressionism" can also be seen as further manifestations of his underlying Baudelairean cosmology."--Publisher's website.




Value in Art


Book Description

"How did art critics come to speak of light and dark as, respectively, "high in value" and "low in value." In this book, Henry Sayre traces the origins of this usage in one of art history's most famous and racially charged paintings, Manet's Olympia. Masterfully researched and argued, this bold study reveals the extraordinary weight of history and politics that Manet's painting bears, and the presence of slavery at modernism's roots. Sayre shows that it was Émile Zola who introduced a new "law of values" to art criticism in an 1867 essay on Manet. Unpacking the intricate contexts of Zola's essay and of several related paintings of Manet, Sayre argues that Zola's use of the economic metaphor of "value" was doubly coded. On the one hand, it was a feint that deflected attention away from Olympia's actual subject and toward the painting's formal qualities. On the other, Sayre argues, "value" for Zola was a trope for the political economy of slavery and the Second Empire's complicity in the ongoing slave trade in the Americas. Value in Art is a surprising and necessary intervention in our understanding of modern art's emergence in relation to issues of race"--




Manet and Modern Beauty


Book Description

This stunning examination of the last years of Édouard Manet's life and career is the first book to explore the transformation of his style and subject matter in the 1870s and early 1880s. The name Manet often evokes the provocative, heroically scaled pictures he painted in the 1860s for the Salon, but in the late 1870s and early 1880s the artist produced quite a different body of work: stylish portraits of actresses and demimondaines, luscious still lifes, delicate pastels, intimate watercolors, and impressionistic scenes of suburban gardens and Parisian cafés. Often dismissed as too pretty and superficial by critics, these later works reflect Manet’s elegant social world, propose a radical new alignment of modern art with fashionable femininity, and record the artist’s unapologetic embrace of beauty and visual pleasure in the face of death. Featuring nearly three hundred illustrations and nine fascinating essays by established and emerging Manet specialists, a technical analysis of the late Salon painting Jeanne (Spring), a selection of the artist’s correspondence, a chronology, and more, Manet and Modern Beauty brings a diverse range of approaches to bear on a little-studied area of this major artist’s oeuvre.




Manet/Degas


Book Description

Friends, rivals, and at times antagonists, Édouard Manet and Edgar Degas maintained a pictorial dialogue throughout their lives as they both worked to define the painting of modern urban life. Manet/Degas, the first book to consider their careers in parallel, investigates how their objectives overlapped, diverged, and shaped each other’s artistic choices. Enlivened by archival correspondence and records of firsthand accounts, essays by American and French scholars take a fresh look at the artists’ family relationships, literary friendships, and interconnected social and intellectual circles in Paris; explore their complex depictions of race and class; discuss their political views in the context of wars in France and the United States; compare their artistic practices; and examine how Degas built his personal collection of works by Manet after his friend’s premature death. An illustrated biographical chronology charts their intersecting lives and careers. This lavishly illustrated, in-depth study offers an opportunity to reevaluate some of the most canonical French artworks of the nineteenth century, including Manet’s Olympia, Degas’s The Absinthe Drinker, and other masterworks.




Édouard Manet


Book Description

Contains forty color plates, supplemented by black-and-white reproductions with text and commentary on Manet's life and his works.




The Art of Rivalry


Book Description

Pulitzer Prize–winning art critic Sebastian Smee tells the fascinating story of four pairs of artists—Manet and Degas, Picasso and Matisse, Pollock and de Kooning, Freud and Bacon—whose fraught, competitive friendships spurred them to new creative heights. Rivalry is at the heart of some of the most famous and fruitful relationships in history. The Art of Rivalry follows eight celebrated artists, each linked to a counterpart by friendship, admiration, envy, and ambition. All eight are household names today. But to achieve what they did, each needed the influence of a contemporary—one who was equally ambitious but possessed sharply contrasting strengths and weaknesses. Edouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife. Henri Matisse and Pablo Picasso swapped paintings, ideas, and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant-garde. Jackson Pollock’s uninhibited style of “action painting” triggered a breakthrough in the work of his older rival, Willem de Kooning. After Pollock’s sudden death in a car crash, de Kooning assumed Pollock's mantle and became romantically involved with his late friend’s mistress. Lucian Freud and Francis Bacon met in the early 1950s, when Bacon was being hailed as Britain’s most exciting new painter and Freud was working in relative obscurity. Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon, which was later stolen. Each of these relationships culminated in an early flashpoint, a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation. Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism, Sebastian Smee explores here the way that coming into one’s own as an artist—finding one’s voice—almost always involves willfully breaking away from some intimate’s expectations of who you are or ought to be. Praise for The Art of Rivalry “Gripping . . . Mr. Smee’s skills as a critic are evident throughout. He is persuasive and vivid. . . . You leave this book both nourished and hungry for more about the art, its creators and patrons, and the relationships that seed the ground for moments spent at the canvas.”—The New York Times “With novella-like detail and incisiveness [Sebastian Smee] opens up the worlds of four pairs of renowned artists. . . . Each of his portraits is a biographical gem. . . . The Art of Rivalry is a pure, informative delight, written with canny authority.”—The Boston Globe