The Impressionist Print
Seiten
1997
Yale University Press (Verlag)
978-0-300-06792-7 (ISBN)
Yale University Press (Verlag)
978-0-300-06792-7 (ISBN)
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Degas, Pissaro, Renoir and other impressionist painters often experimented with printmaking techniques, producing such works as black-and-white etchings, aquatints, dry points and colour lithographs. This study aims to provide an understanding of the impressionist prints.
Degas, Pissarro, Cassatt, Renoir, Morisot, Bracquemond, Manet, Whistler—these and other Impressionist painters often experimented with printmaking techniques, producing black and white etchings, aquatints, dry points, and color lithographs that exhibited the same easy yet subtle attraction that makes their oil paintings so beloved. In this beautiful book, an eminent authority examines the prints of these painter-printmakers, providing a new understanding of Impressionism and of contemporary printmaking.
Drawing on discoveries of the last two decades and on his own research, Michel Melot locates the sources and influences of the prints and analyzes their techniques—particularly in monotypes and embossed prints. In so doing he reveals the close ties between the Impressionist movement and the rebirth of artists' prints in the second half of the nineteenth century. His analysis of the relations among artists, the art market, art criticism, collectors, and political institutions makes Impressionism appear less like a miracle and more a response to the social and economic upheavals of the nineteenth century.
Degas, Pissarro, Cassatt, Renoir, Morisot, Bracquemond, Manet, Whistler—these and other Impressionist painters often experimented with printmaking techniques, producing black and white etchings, aquatints, dry points, and color lithographs that exhibited the same easy yet subtle attraction that makes their oil paintings so beloved. In this beautiful book, an eminent authority examines the prints of these painter-printmakers, providing a new understanding of Impressionism and of contemporary printmaking.
Drawing on discoveries of the last two decades and on his own research, Michel Melot locates the sources and influences of the prints and analyzes their techniques—particularly in monotypes and embossed prints. In so doing he reveals the close ties between the Impressionist movement and the rebirth of artists' prints in the second half of the nineteenth century. His analysis of the relations among artists, the art market, art criticism, collectors, and political institutions makes Impressionism appear less like a miracle and more a response to the social and economic upheavals of the nineteenth century.
Michel Melot was director of the Prints and Photography Department of the Bibliothèque Nationale, where in 1974 he organized the major exhibition L'Estampe Impressioniste and wrote the catalogue that accompanied it. He later became director of the Public Library at the Centre Georges Pompidou in Paris, and he is now president of the National Council of Libraries. He is the author of some fifty articles and a dozen works on archaeology and art history.
| Erscheint lt. Verlag | 31.1.1997 |
|---|---|
| Übersetzer | Caroline Beamish |
| Zusatzinfo | 240 b-w + 60 color illus. |
| Sprache | englisch |
| Maße | 235 x 305 mm |
| Gewicht | 2177 g |
| Themenwelt | Kunst / Musik / Theater ► Kunstgeschichte / Kunststile |
| Kunst / Musik / Theater ► Malerei / Plastik | |
| ISBN-10 | 0-300-06792-5 / 0300067925 |
| ISBN-13 | 978-0-300-06792-7 / 9780300067927 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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