In this book beloved examples of Post-Impressionism from one of the world's premier art museums provide a splendid overview of innovations ushered in by the popular movement. Representing a pivotal moment in the history of European art, the Post-Impressionists created some of the most recognizable and stylistically inventive paintings of the modern era. Published to accompany a major exhibition, this book presents over one hundred celebrated paintings from the unparalleled collection of Paris's Musee d'Orsay. Focusing on the decades around 1900, this publication presents late Impressionist landmarks by Monet and Renoir; early modern masterpieces by Cezanne, Gauguin, Toulouse-Lautrec, and Van Gogh; and avant-garde canvases by the Nabis painters Denis, Bonnard, and Vuillard. The volume also provides a unique look at the Muee d'Orsay's outstanding collection of Pointillism, including works by artists such as Seurat and Signac. Together these works offer a fresh assessment of seismic transitions in the European art world at the turn of the twentieth century that ushered in the birth of modern painting and produced lasting treasures of its own.
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SYLVIE PATRY and STEPHANE GUEGAN are Curators at the Musee d'Orsay, Paris. Includes essays by Guy Cogeval, Sylvie Patry, and Stephane Guegan of the Musee d'Orsay.
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10 of 11 people found the following review helpful:
4.0 out of 5 stars
Some Respect for the Wings of Butterflies, Please!,
By Giordano Bruno (Wherever I am, I am.) - See all my reviews (HALL OF FAME REVIEWER) (TOP 1000 REVIEWER)
This review is from: Van Gogh, Gauguin, Cezanne and Beyond: Post-Impressionist Masterpieces from the Musee d'Orsay (Hardcover)
This large, sturdy volume is the catalogue/souvenir of the touring exhibit of "Post-Impressionist Masterpieces from the Musée D'Orsay, currently on display at the De Young Museum in San Francisco. This exhibit is, in a sense, the sequel to a exhibit of Impressionist painting from the D'Orsay, which has already passed through SF. Both exhibits are relatively small, just a few tight rooms full of paintings. Together they might have been "more than enough" but seen in close sequence they are "just right" for people, like me, who are easily overloaded by vast exhibits.
This exhibit is hardly as focused on the greatest paintings by the three masters as its 'title' implies. Yes, there are indeed several undeniable masterpieces each by Cézanne, Gauguin, and van Gogh, along with several surprisingly masterful paintings by Paul Sérusier, Théo van Rysselberghe, Émile Bernard, and others, plus two stupendously potent and original large paintings by Henri Rousseau. The whole exhibit, however, is patently the concept of art historians, intended as pedagogy, with just a soupçon of condescension. Don't worry! The pedantry can be overlooked, along with the couple of inferior paintings chosen for 'historical' reasons. What do art historians and musicologists have in common? I'll let that question settle itself. As a 'coffee table' art book, this catalogue has pluses and minuses. The color printing is quite accurate. The textures and brushwork are adequately reproduced, given the issues of scale. The paper is sturdy and the book seems likely to wear well. Some of the finest paintings, however, are annoyingly creased across two pages. But the book is not just a set of photographic reproductions; it also contains eight historical essays by the curators of the exhibit, Sylvie Patry and Stéphane Guegán, translated from French to slightly awkward English. Each essay is amply footnoted, amounting to a substantial resource for further historical research. This is where, for me personally, the whole exhibit and its catalogue tips toward the tearing of wings off butterflies. Painterly geniuses like Vincent van Gogh and Paul Gauguin should probably not be expected to hold sound philosophical or political notions. Often their 'notions' require more forgiveness than scholarly explication. It's deflating to discover that three (and more) of my favorite painters were muddy-headed dingbats about religion and society. I suppose I'm a post-modern Derrida disciple about paintings; the 'meaning' and impact of any painting is always and only what the viewer negotiates with the colors and lines.
2 of 2 people found the following review helpful:
4.0 out of 5 stars
The Exuberance of Freedom,
By Dr. Debra Jan Bibel "World Music Explorer" (Oakland, CA USA) - See all my reviews (TOP 500 REVIEWER)
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This review is from: Van Gogh, Gauguin, Cezanne and Beyond: Post-Impressionist Masterpieces from the Musee d'Orsay (Hardcover)
The catalogue of the exhibit in San Francisco, as I write, serves as a reminder of that fine presentation of the brief but highly experimental period after the Impressionists/Independents had opened the doors of the art world. The quality of the colored reproductions in my copy (to contrast the other reviewer) is somewhat muted or of low contast, such that the psychodelic bold painting of pointillist Luce appears bland and soft and the confident yellow of Sérusier's The Talisman becomes soiled olive. Any book image pales to the effect of the original, of course, but those in my tome deflate the importance and excitement of the exhibit, for that and this book will introduce the reader to unfamiliar colleagues of renown artists who explored new territory, producing a variety of trial branches. For instance, I had not before heard of the Nabis group of mystical artists centered at a graphic approach with solids, again an influence of the recently imported Japanese woodcuts and prints. The included essays will assist in appreciating the works. Thus, allowing for possible inferior reproductions, the book is a worthwile reference and summary.
3 of 5 people found the following review helpful:
1.0 out of 5 stars
Ugliest "art book" ever,
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This review is from: Van Gogh, Gauguin, Cezanne and Beyond: Post-Impressionist Masterpieces from the Musee d'Orsay (Hardcover)
This is undoubtedly the ugliest art book ever. The problem is that the colors are not calibrated properly and the images are hideously misrepresented. The emphasis is on the wrong brush strokes due to this error. If you want the background on the show, by all means buy it but do not ever believe that these fabulous works of art bear any resemblance to what lies between the covers of this book.
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