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Moffett, Charles S.

Impressionist and post-impressionist paintings in the Metropolitan Museum of Art.

Hatt Rare Books ILAB & CINOA
lbh303700
New York, The Metropilitan Museum of Art / Harry N. Abrams, 1985. 4to. 256 pp. Richly illustrated in colour (172 colour plates, including details). With selected bibliography. Publisher's cloth, pictorial dustjacket. Very fine / as new.

"The collection of Impressionist and Post-Impressionist paintings in The Metropolitan Museum of Art is unrivaled anywhere in the world except by that in the Louvre. Now for the first time in its history, the Museum has gathered together in one volume 126 of its finest works in this area. As Philippe de Montebello, director of The Metropolitan Museum of Art, observes in his foreword, the wide appeal of Impressionist and Post-Impressionist paintings arises from the nature of the subjects themselves - moments of pleasure in daily life, in sunlit settings, on the banks of rivers, or at the seashore. He notes that these works of art equally fascinate the specialists who trace the evolution of the new way of seeing that marked the work of the Impressionists and Post-Impressionists. The enjoyment of Degas's ballerinas, Monet's gardens, and van Gogh's sunflowers, he suggests, derives not only from the agreeable associations of these scenes, but also from our realization that beneath their luminous surfaces these works record an effort to locate ourselves in the ephemeral world. In this volume the whole constellation of lmpressionist and Post-Impressionist artists is encompassed, from Manet, the acknowledged father of Impressionism, to Seurat, Gauguin, and Cézanne, who laid the ground-work for twentieth-century Cubism and abstraction. Opening with the work of Jongkind and Boudin, two artists of the 1860s whose influence on many of the young painters led them in the 1870s to create the style now recognized as the classic phase of Impressionism, this book ranges over the varied contributions of Fantin-Latour, Pissarro, Sisley, Renoir, Signac, Toulouse-Lautrec, Redon, and Henri Rousseau. - - - The 126 rich and faithful colorplates are augmented by 46 detail photographs in color that make it possible to see these masterly expressions of nineteenth-century avant-garde art with unprecedented clarity. Each work is accompanied by a scholarly commentary that reflects a full-scale evaluation of the literature, as well as of the aesthetic, philosophical, historical, scientific, and political milieus in which the art was created. The texts were written by Charles S. Moffett, formerly a curator in the Museum's Department of European Paintings, assisted by other members of the department.
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