A Companion to Impressionism: (Blackwell Companions to Art History)

The 21st century's first major academic reassessment of Impressionism, providing a new generation of scholars with a comprehensive view of critical conversations Presenting an expansive view of the study of Impressionism, this extraordinary volume breaks new thematic ground while also reconsidering established questions surrounding the definition, chronology, and membership of the Impressionist movement. In 34 original essays from established and emerging scholars, this collection considers a diverse range of developing topics and offers new critical approaches to the interpretation of Impressionist art. Focusing on the 1860s to 1890s, this Companion explores artists who are well-represented in Impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism's global predominance at the turn of the 20th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, and the movement's exhibition and reception history. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important new addition to scholarship in this field: Reevaluates the origins, chronology, and critical reception of French Impressionism Discusses Impressionism's account of modern identity in the contexts of race, nationality, gender, and sexuality Explores the global reach and influence of Impressionism in Europe, the Middle East, East Asia, North Africa, and the Americas Considers Impressionism's relationship to the emergence of film and photography in the 19th century Considers Impressionism's representation of the private sphere as compared to its depictions of public issues such as empire, finance, and environmental change Addresses the Impressionist market and clientele, period criticism, and exhibition displays from the late 19th century to the middle of the 20th century Features original essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and Argentina The Wiley Blackwell Companion to Impressionism is an invaluable text for students and academics studying Impressionism and late 19th century European art, Post-Impressionism, modern art, and modern French cultural history.

Table of Contents:
List of Figures ix About the Editor xiv Notes on Contributors xv Series Editor’s Preface xxiii Acknowledgments xxv Introduction 1 André Dombrowski Part I What Was Impressionism? What Is an Impression? Definitions and New Directions 9 1 Impressionism and Criticism 11 Marnin Young 2 Rethinking the Origins of Impressionism: The Case of Claude Monet and Corner of a Studio 27 Mary-Dailey Desmarais 3 Monet in the 1880s: The Motif in Crisis 43 Marc Gotlieb 4 As a Glass Eye: Manet’s Flower Paintings 61 Briony Fer 5 Figuring Perception: Monet’s Leap into Plein Air, 1866–1867 75 Michael Marrinan 6 Pater, Impressionism, and the Undoing of Sense 93 Jeremy Melius 7 The Impressionist Mind: Modern Painting and Nineteenth-Century Readerships 107 Ségolène Le Men Part II Painting as Object: Tools, Materials, and Close Looking 127 8 Impression, Improvisation, and Premeditation: New Insights into the Working Methods and Creative Process of Claude Monet 129 Gloria Groom and Kimberley Muir 9 Piquer, Plaquer: Cézanne, Pissarro, and Palette-Knife Painting 146 Nancy Locke 10 John Singer Sargent’s Lady with a Blue Veil and the Matter of Paint 162 Susan Sidlauskas Part III New Visual Media and the Other Arts 181 11 Painting Photographing Ballooning: At the Boulevard des Capucines 183 Carol M. Armstrong 12 Series and Screens: Seeing Monet’s Cathedrals through the Lens of the Cinematograph 201 Marine Kisiel 13 Critical Impressionism: A Painting by Mary Cassatt and Its Challenge to the Social Rules of Art 219 Anne Higonnet 14 James McNeill Whistler: Veiling the Everyday 234 Caroline Arscott Part IV Impressionism and Identity 251 15 Cassatt’s Alterity 253 Hollis Clayson 16 Bazille, Degas, and Modern Black Paris 271 [Excerpt from Posing Modernity: The Black Model from Manet and Matisse to Today, Yale University Press, pp. 70–83, with a new preface. Reprinted with permission from Yale University Press] Denise Murrell 17 Expert Hands, Infectious Touch: Painting and Pregnancy in Morisot’s The Mother and Sister of the Artist 287 Mary Hunter 18 Painting the Prototype: The (Homo)Sexuality of Bazille’s Summer Scene 304 Jonathan D. Katz, with André Dombrowski Part V Public and Private 323 19 Revival and Risk: Renoir, Fragonard, and the Epistolary Theme 325 Nina L. Dubin 20 “The Little Dwarf and the Giant Lady:” At Home with Gustave Caillebotte 343 Felix Krämer 21 Renoir, Impressionism, and the Value of Touch 357 Martha Lucy 22 Morisot’s Urbane Ecologies 375 Alison Syme 23 Incorporating Impressionism: The Société anonyme and the First Impressionist Exhibition in 1874 393 André Dombrowski Part VI World Impressionism 415 24 “Plume Mania:” Degas, Feathers, and the Global Millinery Trade 417 Simon Kelly 25 Home and Alienation in the Colonies: Auguste Renoir in Algiers, Jean Renoir in India 435 Todd Porterfield 26 Impressionism in Japan: The Awakening of the Senses 452 Takanori Nagaï 27 Impressionism in Argentina: A Historiographical Discussion 466 Laura Malosetti Costa 28 Turkish Impressionism: Interplays of Culture and Form 484 Ahu Antmen 29 Impressionism and Naturalism in Germany: The Competing Aesthetic and Ideological Imperatives of a Modern Art 499 Alex Potts Part VII Criticism, Displays, and Markets 517 30 Degenerate Art: Impressionism and the Specter of Crisis in French Painting 519 Neil McWilliam 31 Impressionism through the Prism of New Methods: A Social and Cartographic Study of Monet’s Address Book 533 Félicie Faizand de Maupeou 32 Against the Grain: Gustave Caillebotte and Paul Durand-Ruel’s Impressionism 547 Mary Morton 33 Are Museum Curators “Very Special Clients?” Impressionism, the Art Market, and Museums (Paul Durand-Ruel and the Musée du Luxembourg at the Turn of the Twentieth Century) 566 Sylvie Patry 34 The Museum of Impressionism, 1947 583 Martha Ward Index 601

About the Author :
André Dombrowski is Frances Shapiro-Weitzenhoffer Associate Professor of 19th-Century European Art at the University of Pennsylvania, USA. He specializes in the arts and material culture of France and Germany in the late 19th century. He is the author of Cézanne, Murder, and Modern Life, and numerous essays on Manet, Monet, Pissarro, and Degas, among other artists.