The word Impressionism has long been associated with images of leisure. The French Impressionists announced their modernity by portraying fashionably dressed people dining in the open air, strolling along garden paths, or enjoying an evening at the theatre. Although the American Impressionists also portrayed women in white dresses twirling parasols, they devoted almost equal attention to workers: farmers, washerwomen, flower vendors, shipbuilders, bargemen, hackney drivers, and construction workers. Their landscapes depict not only city parks and seaside resorts but also worksites - shipyards and quarries, farms and factories. Free of the baggage of the European class system, the American Impressionists expressed the deeply rooted American belief in the nobility of honest toil. They did not depict labourers as oppressed drudges, as many European painters had done. Instead, the workers in American Impressionist paintings are always dignified and sometimes heroic. This publication accompanies an exhibition presenting forty-six paintings by twenty artists. The essays and catalogue entries survey American, European and Japanese precedents and provide a cultural context of the treatment of the theme of work, drawing on such diverse sources as poetry, popular songs, census reports and home-economics books.
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Susan G. Larkin is the author of The Cos Cob Art Colony: Impressionists on the Connecticut Shore and was the curator of the exhibition of the same title. She was co-author of American Impressionists Abroad and at Home: Paintings from the Collection of the Metropolitan Museum of Art and has written and lectured widely on the American art.
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Softcover. Etat : Like New. Immediate dispatch from Somerset. Book in excellent unread/unused condition. See images. Fantastic book. About the book >.>.> Work fascinates me," the saying goes; "I can sit and look at it for hours." Busy New Yorkers gawking at a construction site; television viewers mesmerized by demonstrations of cooking and carpentry; visitors to country fairs clustered around sheepshearers and rail-splitters: all attest to the universal fascination with work, especially if it involves skills the viewers themselves do not possess. Through the ages, artists have expressed this human interest, capturing on their canvases-or, in ancient Egypt and China, on the walls and in the coffers of tombs-images of farmers, shipbuilders, stonecutters, seamstresses, and other workers. Influence in art is often assumed to refer only to style, that is, the brushwork, palette, and compositional strategies an artist employs. In practice, however, style and content are intertwined. When the young Claude Monet, who had previously aspired to be a caricaturist, painted outdoors in the company of Eug?ne Boudin, he emulated the older artist's sunstruck beach and harbor scenes as well as the feathery touch and. N° de réf. du vendeur Batch-FM460-LN-10336
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