A Sourcebook of Gauguin's Symbolist Followers: Les Nabis, Pont-Aven, Rose + Croix

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Greenwood Publishing Group, 2004 - 941 pàgines
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Paul Gauguin (1848-1903) played a seminal role in Post-Impressionist France. In his writings and work, he favored emotional responses to nature over intellectual uses of lines, color, and composition. In 1888 he and Emile Bernard developed a new style called Synthetism. Three groups of Gauguin's symbolist followers--Pont Aven, Les Nabis, and Rose + Croix pursued and extended the Synthetist vision. This sourcebook focuses on the most prominent adherents of the three schools directly affected by Gauguin's symbolism.

This is the first comprehensive, single-volume guide and bibliography of artists in these three important French avant-garde movements. This work covers the entire careers of 16 artists by providing biographical sketches, chronologies, citations to primary and secondary literature and exhibitions.

 

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Continguts

VII
155
VIII
159
IX
165
X
173
XI
221
XII
223
XIII
225
XIV
229
XXXIV
595
XXXV
627
XXXVI
631
XXXVII
637
XXXVIII
657
XXXIX
661
XL
667
XLI
683

XV
231
XVI
233
XVII
239
XVIII
255
XIX
257
XX
267
XXI
365
XXII
367
XXIII
373
XXIV
411
XXV
415
XXVI
425
XXVII
489
XXVIII
491
XXIX
501
XXX
567
XXXI
571
XXXII
575
XXXIII
591
XLII
685
XLIII
687
XLIV
693
XLV
697
XLVI
699
XLVII
707
XLVIII
743
XLIX
745
L
753
LI
833
LII
835
LIII
839
LIV
865
LV
869
LVI
875
LVII
893
LVIII
901
Copyright

Passatges populars

Pàgina 627 - La Nature est un temple où de vivants piliers Laissent parfois sortir de confuses paroles; L'homme y passe à travers des forêts de symboles Qui l'observent avec des regards familiers. Comme de longs échos qui de loin se confondent Dans une ténébreuse et profonde unité, Vaste comme la nuit et comme la clarté, Les parfums, les couleurs et les sons se répondent.
Pàgina xviii - It is well to remember that a picture before being a battle horse, a nude woman, or some anecdote, is essentially a flat surface covered with colors assembled in a certain order.
Pàgina 8 - It must be remembered that any painting — before being a war horse, a nude woman, or some anecdote — is essentially a flat surface covered with colors arranged in a certain order
Pàgina 23 - With Georgia S. Maas and Diane-Marie Savoye. New York, New York University Press, 1975.
Pàgina 46 - JAMES. French Painting and the Nineteenth Century. With notes on artists and pictures by Michael Sevier and a postscript by Alfred Flechtheim. London: Batsford; NY: C. Scribner's, 1937. 1 19 p., illus., pi. 134. LEE, ELLEN WARDWELL. The Aura of Neo-Impressionism: The WJ Holliday Collection. Artists
Pàgina 35 - FÉLIX. Au-delà de l'impressionnisme. Textes réunis et présentés par Françoise Cachin. Paris: Hermann, 1966.
Pàgina 23 - Chronique d'art 1902-1918, textes réunis, avec préface et notes, par LC Breunig, Paris, Gallimard, 1960.
Pàgina 47 - The Genesis of Modernism: Seurat, Gauguin, van Gogh & French Symbolism in the 1880's.
Pàgina 20 - The Getty Center for the History of Art and the Humanities, Archives of the History of Art, Santa Monica, California. Rysselberghe (1862-1926) was a Belgian painter trained at the Ghent Academy and then in Jean Portaels

Quant a l’autor (2004)

RUSSELL T. CLEMENT is the head of the Art collection at Northwestern University Library, Evanston, Illinois. His recent publications include The Women Impressionists co-authored with Annick Houze and Chritiane Erbolato-Ramsey (Greenwood, 2000)

ANNICK HOUZÉ is the French, Italian, and Art cataloguer at the Harold B. Lee Library, Brigham Young University, Provo. She co-authored The Women Impressionists (Greenwood, 2000) with Russel Clement and Christiane Erbolato-Ramsey, and Neo-Impressionist Painters (Greenwood, 1999) with Russel Clement. She is a native of Dunkerque, France.

CHRISTIANE ERBOLATO-RAMSEY is the Fine Arts Librarian at Brigham Young University and holds an MLS and an MA in Art History. She has researched Latin American Women Artists and computer applications in the study of art history. She is a member of the Art Libraries Society of North America. She is also co-compiler of The Women Impressionists (Greenwood, 2000).

Informació bibliogràfica