Amazon.com Review
Famous for outdoor scenes bathed in light, the impressionists are hard to imagine as dedicated still-life painters. By and large, they weren't. But Monet's rare small paintings of flowers were snapped up by contemporary collectors. And several artists who exhibited with the impressionists, influenced them, or were influenced by them--including Manet, van Gogh, Gauguin, and Cézanne--devoted a sizable portion of their oeuvre to the genre. While
Impressionist Still Life is a somewhat misleading title--yet another marketing ploy to attract lovers of a popular style, it seems--this book makes a good case for the importance of this intimate genre of painting to major themes and techniques of later-19th-century art. Published in conjunction with an exhibition of the same name at the Phillips Collection in Washington, D.C. (September 22, 2001, to January 13, 2002, then traveling to the Museum of Fine Arts, Boston), this volume is lavishly illustrated and rich in detailed information. Five essays trace themes ranging from the influence of 18th-century painter Jean-Baptiste Chardin on still-life composition and the use of color to the strikingly modern way Cézanne's famous apples devalued subject matter to emphasize the physicality of brush strokes. The stunning paintings featured in full-page plates include some rarely seen canvases, such as Monet's
Jar of Peaches from 1866. In this tour de force of illusionism, the flattened look of peaches packed in a glass jar contrasts with fuzzy whole peaches that cast reflections on a marble table scribbled with bold white veins. A genre that could encompass both the luminous intimacy of Eva Gonzalès'
White Shoes and the restless drama of Cézanne's
Still Life with Ginger Jar and Eggplants turned out to be uniquely suited to individual perceptions of modern life.
--Cathy Curtis
From Library Journal
Not merely a survey of impressionist still-life painting, as suggested by its title, this handsome and valuable catalog of an exhibition at the Phillips Collection in Washington, DC, that then travels to Boston, is an intelligently wrought overview of this genre in late 19th-century France. Apart from the luminous favorites of the impressionists, their great realist predecessor Gustave Courbet and their post-impressionist successors are also amply represented in the show's 92 works. Accompanying the catalog are five essays that explicate the development and formal qualities of these paintings within a context of art historical tradition and social currents. Although the essays are of some service in articulating the sources and influences leading up to this period, the significance of the enigmatic Manet, and the achievement and impact of C?zanne, none of these discussions comes to grips with the quintessential Impressionism of Monet, Renoir, Pissarro, and Morisot. The dereliction, however, of the not equally accessible essays is more than compensated for by the refined analyses that accompany the excellent reproductions. The thoughtful organization of the paintings into small congeries further enhances the pedagogic and aesthetic value of this eye-delighting opus. Robert Cahn, Fashion Inst. of Technology, NY
Copyright 2001 Reed Business Information, Inc.
