Realism in the Age of Impressionism

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9780300208320: Realism in the Age of Impressionism
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"A highly original study based on impeccable and relentless scholarship."-Michael Fried, Johns Hopkins University -- Michael Fried "Young's total saturation in, and mastery of, the extremely rich body of contemporary art criticism enables him to recreate, to a remarkable degree, the recep-tion of his chosen paintings by the most informed and sophisticated viewers of the time. The richness of 19th-century French art criticism is a gift to the historian, but only a handful of scholars have made the most of it; T. J. Clark, Martha Ward, Marc Gotlieb, and Stephen Bann come at once to mind, and Young in this book joins their rather exclusive club."-Michael Fried, Johns Hopkins University -- Michael Fried "This very original text concerns a fascinating interplay between several questions never before addressed in quite this way: the continuing appeal of the Realist paradigm during and after the heyday of Impressionism; the models of pictorial temporality suggested by Impressionist facture and instantaneity on the one hand, and by Realist genres of subject-matter on the other hand; and the opposing temporalities of the working class and the bourgeoisie."-Carol Armstrong, Yale University -- Carol Armstrong "What emerges is a very unusual bringing together of what is usually dealt with separately, by those dedicated to different methodological frameworks: a Marxist-inspired social history of art as exemplified in the work of T.J. Clark, versus a Friedian phenomenology of "absorption and theatricality," and their different ways of combining an address to both form and content, facture and iconography. Thus Marnin Young's text manages to nuance and complicate very usefully all the existing narratives of this period of 'avant-garde' art as well as the standard divisions in art historical methodology associated with it."-Carol Armstrong, Yale University -- Carol Armstrong

Críticas:

"Young's total saturation in, and mastery of, the extremely rich body of contemporary art criticism enables him to recreate, to a remarkable degree, the recep-tion of his chosen paintings by the most informed and sophisticated viewers of the time. The richness of 19th-century French art criticism is a gift to the historian, but only a handful of scholars have made the most of it; T. J. Clark, Martha Ward, Marc Gotlieb, and Stephen Bann come at once to mind, and Young in this book joins their rather exclusive club."-Michael Fried, Johns Hopkins University -- Michael Fried "What emerges is a very unusual bringing together of what is usually dealt with separately, by those dedicated to different methodological frameworks: a Marxist-inspired social history of art as exemplified in the work of T.J. Clark, versus a Friedian phenomenology of "absorption and theatricality," and their different ways of combining an address to both form and content, facture and iconography. Thus Marnin Young's text manages to nuance and complicate very usefully all the existing narratives of this period of 'avant-garde' art as well as the standard divisions in art historical methodology associated with it."-Carol Armstrong, Yale University -- Carol Armstrong

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Descripción Yale University Press, United States, 2015. Hardback. Estado de conservación: New. 267 x 211 mm. Language: English . Brand New Book. The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-Francois Raffaelli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young s highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art. Nº de ref. de la librería AAH9780300208320

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Descripción Yale University Press, United States, 2015. Hardback. Estado de conservación: New. 267 x 211 mm. Language: English . Brand New Book. The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-Francois Raffaelli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young s highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art. Nº de ref. de la librería AAH9780300208320

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