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Impressionist Print.

MELOT, Michel.

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ISBN 10: 0300067925 / ISBN 13: 9780300067927
Editorial: Yale University Press, New Haven, 1996
Condición: Near Fine Encuadernación de tapa dura
Librería: Grendel Books, ABAA/ILAB (West Chesterfield, MA, Estados Unidos de America)

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Descripción

Color and black and white illustrations throughout. Translated from the French by Caroline Beamish. First edition thus. Near fine in a near fine (short closed edge tear in the lower corner of the front panel) dust jacket. N° de ref. de la librería 26341

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Detalles bibliográficos

Título: Impressionist Print.

Editorial: Yale University Press, New Haven

Año de publicación: 1996

Encuadernación: Hardcover

Condición del libro:Near Fine

Condición de la sobrecubierta: Near Fine

Edición: 1st Edition

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Sinopsis:

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.

From the Back Cover:

A print can sometimes tell us more than a painting about the history of art. Michel Melot illustrates his thesis in this book, analysing relationships between artists, the art market, the critics, collectors and political institutions. This fresh approach reveals Impressionism not as a sort of miracle, but as a response to economic and social upheaval. This original view of a key movement in the history of art allows the reader to understand its decisive effect on all the subsequent generations who have contributed to maintaining the tradition of the belle epreuve.

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