In Masterpiece Studies Kermit Champa offers new ways to interpret modernism that have previously been closed off by the application of the reigning art-historical methodologies to the study of the modernist achievement. He focuses on four separate phenomena--Manet's last Salon painting, Bar at the Folies-Bergère; L'Oeuvre, Zola's novel about the realist/impressionist movement; Van Gogh's problematic versions of a single painting, La Berceuse; and the immanent series phenomenon of Monet's work of the period. Champa reveals the importance of music, in particular Wagner's music, as a paradigm for later nineteenth-century French painting. He also shows the crucial significance of the concept of the masterpiece as thematized by Zola in his novel for our understanding of certain aspects of the art of Manet, Monet, and Van Gogh. Employing post-formalist methodology, the book explores the conversation between works of art produced in close succession and elaborates an aesthetic context for that conversation. Champa also shows how paintings and fictional representations of paintings can announce their points in common,and it is out of this exploration that he radically redefines what constitutes context.
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About the Author
Kermit Swiler Champa is Professor of the History of Art at Brown University and author of several books, including The Rise of Landscape Painting in France (Abrams, 1990).
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3 of 3 people found the following review helpful:
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Small Gem,
This review is from: Masterpiece Studies: Manet, Zola, Van Gogh, & Monet (Hardcover)
"Masterpiece Studies" is one art historian's proposal to emphasize the influence of contemporary European music, primarily Wagner, on the production of three painters: Manet, Van Gogh and Monet. At the same time, Emile Zola's novel "L'Oeurve" is considered as Zola's reaction to the Impressionist "threat" to his realist sensibilities. Manet's "Bar at the Folies-Berger" is a late masterpiece that challenges Zola, who will then create a failed version of Manet in his novel. Investigating Van Gogh's series of "La Berceuse" paintings, Champa explores how the series fits into the idea of "masterpiece" or "copies". Finally, Monet breaks down the single-masterpiece concept with his extended practice of painting series (cathedral, haystacks). The depth of understanding about the subject(s) is rivalled only by the evident love Champa feels for his Studies.
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