Each artist has submitted a previously unpublished work, and further, has had considerable input in selecting the works they personally feel to be among their finest. In addition, many artists have given a thumbnail sketch of the development of their own professional careers in art, specifically to prompt aspiring artists to consider how they too, can pursue a life of artistic endeavour.
The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-Franocois Raffaeelli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young's highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art.
Australian Impressionists in France explores an overloooked period in our art history. Many Australian artists spent time in France during the late nineteenth century and early twentieth centuries, yet this era is often bypassed in favour of examining the work of well-known impressionists landscape painters.
"Each workshop targets an important facet of impressionist painting and provides many top tips for achieving an excellent result." "Throughout this book Colley Whisson's aim is to make successful impressionist painting an attainable goal for more artists so they too can experience the joy of creating stunning paintings filled with light."--BOOK JACKET.
Catalogue to accompany exhibition investigating two main streams of Symbolist art in Australia: works by artists who trained or lived overseas and drew directly from European Symbolist genres; and works by artists in Australia who referenced Symbolism to define a local experience.
Subtle and wide-ranging in its account, this study explores the impact of Australian art in Britain in the two decades following the end of World War II and preceding the 'Swinging Sixties'. In a transitional period of decolonization in Britain, Australian painting was briefly seized upon as a dynamic and reinvigorating force in contemporary art, and a group of Australian artists settled in London where they held centre stage with group and solo exhibitions in the capital's most prestigious galleries. The book traces the key influences of Sir Kenneth Clark, Bernard Smith and Bryan Robertson in their various (and varying) roles as patrons, ideologues, and entrepreneurs for Australian art, as well as the self-definition and interaction of the artists themselves. Simon Pierse interweaves multiple issues of the period into a cohesive historical narrative, including the mechanics of the British art world, the limited and frustrating cultural scene of 1950s Australia, and the conservative influence of Australian government bodies. Publishing for the first time archival material, letters, and photographs previously unavailable to scholars either in Britain or Australia, this book demonstrates how the work of expatriate Australian artists living in London constructed a distinct vision of Australian identity for a foreign market.
