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The art of impressionism : painting technique & the making of modernity

Author: Anthea Callen
Publisher: New Haven : Yale University Press, ©2000.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
"This book is the first full-scale exploration of Impressionist techniques. Focusing on the easel-painted work of Monet, Pissarro, Renoir, Cezanne, Cassatt, Morisot, Caillebotte, Sisley and Degas in the period before 1900, it places their methods and materials in a historical perspective and evaluates their origins, novelty and meanings within the visual formation of urban modernity." "Drawing on scientific studies  Read more...
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Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Anthea Callen
ISBN: 0300084021 9780300084023
OCLC Number: 45438124
Description: x, 245 p. : ill. (some col.) ; 34 cm.
Contents: Tradition and innovation --
The Blank canvas --
Canvas, texture, and materiality --
Grounds for oil painting --
Ground colours and the paint layer --
Light of reason, shades of meaning --
The matter of impressionism --
Making light modern --
The palette: from tonal to spectral --
'Artless" simplicity --
The colour of modernity --
Framing the debate.
Responsibility: Anthea Callen.
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Abstract:

"This book is the first full-scale exploration of Impressionist techniques. Focusing on the easel-painted work of Monet, Pissarro, Renoir, Cezanne, Cassatt, Morisot, Caillebotte, Sisley and Degas in the period before 1900, it places their methods and materials in a historical perspective and evaluates their origins, novelty and meanings within the visual formation of urban modernity." "Drawing on scientific studies of pigments and materials, artists' treatises, colourmen's archives, and contemporary and modern accounts, Anthea Callen demonstrates how raw materials and paintings are profoundly interdependent. She analyses the material constituents of oil painting and the complex processes of 'making' entailed in all aspects of artistic production, discussing in particular oil painting methods for landscapists and the impact of plein air light on figure painting, studio practice and display. Insisting that the meanings of paintings are constituted by and within the cultural matrices that produced them, Callen argues that the real 'modernity' of the Impressionist enterprise lies in the painters' material practices."--Jacket.

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