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The New Art History and the Impressionist canon seem to have successfully claimed Edgar Degas as a misogynist, rabid nationalist and misanthrope whose art was both masterly and experimental. By analysing Degas’s approach to space and his self-fashioning attitude towards identity within the ambiguities of the political and artistic culture of nineteenth-century France, this book questions the characterisation of Degas as a right-wing Frenchman and artist, and will change the way in which Degas is thought about today.
An intricate and provocative journey through nineteenth-century depictions of food and the often uncomfortable feelings they evoke At a time when chefs are celebrities and beautifully illustrated cookbooks, blogs, and Instagram posts make our mouths water, scholar Marni Reva Kessler trains her inquisitive eye on the depictions of food in nineteenth-century French art. Arguing that disjointed senses of anxiety, nostalgia, and melancholy underlie the superficial abundance in works by Manet, Degas, and others, Kessler shows how, in their images, food presented a spectrum of pleasure and unease associated with modern life. Utilizing close analysis and deep archival research, Kessler discovers the complex narratives behind such beloved works as Manet’s Fish (Still Life) and Antoine Vollon’s Internet-famous Mound of Butter. Kessler brings to these works an expansive historical review, creating interpretations rich in nuance and theoretical implications. She also transforms the traditional paradigm for study of images of edible subjects, showing that simple categorization as still life is not sufficient. Discomfort Food marks an important contribution to conversations about a fundamental theme that unites us as humans: food. Suggestive and accessible, it reveals the very personal, often uncomfortable feelings hiding within the relationship between ourselves and the representations of what we eat.
Author : Stephan Wolohojian,Ashley E. Dunn Publisher : Metropolitan Museum of Art Page : 324 pages File Size : 52,6 Mb Release : 2023-09-18 Category : Art ISBN : 9781588397638
Manet/Degas by Stephan Wolohojian,Ashley E. Dunn Pdf
Friends, rivals, and at times antagonists, Édouard Manet and Edgar Degas maintained a pictorial dialogue throughout their lives as they both worked to define the painting of modern urban life. Manet/Degas, the first book to consider their careers in parallel, investigates how their objectives overlapped, diverged, and shaped each other’s artistic choices. Enlivened by archival correspondence and records of firsthand accounts, essays by American and French scholars take a fresh look at the artists’ family relationships, literary friendships, and interconnected social and intellectual circles in Paris; explore their complex depictions of race and class; discuss their political views in the context of wars in France and the United States; compare their artistic practices; and examine how Degas built his personal collection of works by Manet after his friend’s premature death. An illustrated biographical chronology charts their intersecting lives and careers. This lavishly illustrated, in-depth study offers an opportunity to reevaluate some of the most canonical French artworks of the nineteenth century, including Manet’s Olympia, Degas’s The Absinthe Drinker, and other masterworks.
"More than any other artist in the Impressionist group, Degas was fascinated by ideas and consciously based his work on them. "What I do is the result of reflection and study of the great masters," he once confessed, "of inspiration, spontaneity, temperament I know nothing." Yet his work has been understood very inadequately from that point of view. Publications on him, once dominated by memoirs inspired by his remarkable personality, are now concerned with cataloguing and studying limited aspects of his complex art. Its intellectual power and originality, which were evident to contemporary writers like Duranty and Valery, have not been studied sufficiently by more recent critics. It is this side of Degas's art--as seen in his ingenious pictorial strategies and technical innovations, his use of motifs like the window, the mirror, and the picture within the picture, his invention of striking, psychologically compelling compositions, and his creation of a sculptural idiom at once formal and vernacular--that is the subject of these essays. Inevitably, given the range of his intellectual interests, the essays are also concerned with his contacts with leading novelists and poets of his time and his efforts to illustrate or draw inspiration from their works. Throughout, the author makes use of an important, largely unpublished source, the material in Degas's notebooks, on which he has recently published a complete catalogue"--Publisher's description.
"An examination of the paintings Monet made en plein air alongside his artist colleagues, and the meaning and impact that this practice had on his fellow impressionists"--
Rafael Fernandez,Edgar Degas,Alexandra R. Murphy,Sterling and Francine Clark Art Institute
Author : Rafael Fernandez,Edgar Degas,Alexandra R. Murphy,Sterling and Francine Clark Art Institute Publisher : Australian Geographic Page : 92 pages File Size : 53,7 Mb Release : 1987 Category : Art ISBN : UOM:39015034689268
Degas was closest to Renoir in the impressionist’s circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter’s memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions depicting racecourses, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject, Mademoiselle Fiocre dans le ballet de la Source (Mademoiselle Fiocre in the Ballet ‘The Spring’) (New York, Brooklyn Museum). Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas’ first painting devoted solely to the ballet was Le Foyer de la danse à l’Opéra de la rue Le Peletier (The Dancing Anteroom at the Opera on Rue Le Peletier) (Paris, Musée d’Orsay). In a carefully constructed composition, with groups of figures balancing one another to the left and the right, each ballet dancer is involved in her own activity, each one is moving in a separate manner from the others. Extended observation and an immense number of sketches were essential to executing such a task. This is why Degas moved from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days.
Edgar Degas was one of the great pioneers of modern art, and the J. Paul Getty and Norton Simon museums are fortunate to own jointly one of his finest pastels, Waiting (L'Attente), which he made sometime between 1880 and 1882, about midway in his career. In this fascinating monograph, author Richard Thomson explores this brilliant work in detail, revealing both the intricacies of its composition and the source of the emotional pull it immediately exerts upon the viewer. For Waiting is, indeed, an extraordinary object both in its craftsmanship and color and, perhaps most especially, in its aura of ambiguity and even mystery.
PVD for Microelectronics: Sputter Desposition to Semiconductor Manufacturing by Anonim Pdf
Physics of Thin Films is one of the longest running continuing series in thin film science, consisting of 25 volumes since 1963. The series contains quality studies of the properties of various thin films materials and systems.In order to be able to reflect the development of today's science and to cover all modern aspects of thin films, the series, starting with Volume 20, has moved beyond the basic physics of thin films. It now addresses the most important aspects of both inorganic and organic thin films, in both their theoretical as well as technological aspects. Therefore, in order to reflect the modern technology-oriented problems, the title has been slightly modified from Physics of Thin Films to Thin Films.This volume, part of the Thin Films Series, has been wholly written by two authors instead of showcasing several edited manuscripts.
Julie A. Steiner,Metropolitan Museum of Art (New York, N.Y.)
Author : Julie A. Steiner,Metropolitan Museum of Art (New York, N.Y.) Publisher : Metropolitan Museum of Art Page : 154 pages File Size : 46,7 Mb Release : 1997 Category : Art ISBN : 9780870998379
The Private Collection of Edgar Degas by Julie A. Steiner,Metropolitan Museum of Art (New York, N.Y.) Pdf
"The art collection assembled by Edgar Degas was remarkable not only for its quality, size, and depth but also for its revelation of Degas's artistic affinities. He acquired great numbers of works by the nineteenth-century French masters Ingres, Delacroix, and Daumier; he bought (or bartered his own pictures for) art by many of his contemporaries, particularly Manet, Cezanne, Gauguin, and Cassatt; and he acquired works by a wide range of other artists, from eminent to little known. The extent of Degas's holdings was not recognized until after his death, when the collection came up for auction in Paris in 1918 and, in what was called the sale of the century, was widely dispersed." "Extensive research has made it possible to "reassemble" that collection in book form. This summary catalogue contains information on the more than five thousand works owned by Degas. For each work catalogued the entry includes, to the extent possible: a description with medium and dimensions; provenance information about Degas's acquisition and ownership of the work; information pertaining to the sale of the work in 1918 (or its disposal earlier), including the purchaser, purchase price, and other data; the current location; selected references; and an illustration. In a concordance, collection sale lot numbers are listed with their corresponding summary catalogue numbers." "This catalogue and its companion volume of essays are published in conjunction with the exhibition "The Private Collection of Edgar Degas," held at The Metropolitan Museum of Art, New York, from October 1, 1997, to January 11, 1998."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Edgar Degas, 1834-1917 by Bernd Growe,Edgar Degas Pdf
An introduction to the life and work of nineteenth-century French artist Edgar Degas, discussing his cultural and historical importance, and including a chronology and over one hundred color illustrations with explanatory captions.
Peintre, graveur et sculpteur, Edgar Degas (1834-1917) occupe une place originale dans l'art de la seconde moitié du XIXe siècle, par l'acuité de sa vision et la force suggestive de son œuvre. Ami de Manet et des impressionnistes, il renouvelle les thèmes de la vie moderne, champs de course, cafés-concerts, théâtres, sous l'influence de l'art japonais et de l'instantané photographique. Son goût pour le mouvement, les effets obliques, de plongée ou de raccourci, triomphe dans ses nombreuses Danseuses et ses Nus qu'il aborde avec un don saisissant du dessin et une grande variété de moyens d'expression : huile, pastel, fusain, lithographie, monotype.