517 illus., 300 color. 424 pp. 10 1/4 x 12 3/4. Orig. $75.00.
Book Description
Editorial Reviews
From Library Journal
Though Impressionism is usually associated with the French, Broude here shows how it influenced artists worldwide. This hefty volume (517 illustrations, 300 in color) was first published in 1990 at the equally hefty price of $75. The Abradale edition offers the same quality for a better price.
Copyright 1994 Reed Business Information, Inc.
Copyright 1994 Reed Business Information, Inc.
Review
"As this book luxuriously illustrates, Impressionism turns out to have been not just an invention of the French." -- New York Times
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Most Helpful Customer Reviews
10 of 12 people found the following review helpful:
5.0 out of 5 stars
An "eye opener", indeed...,
This review is from: World Impressionism (Abradale Books) (Hardcover)
For those of you who think that Impressionism was a "French thing", think again. These beautiful Impressionist paintings from Japan, Russia, Australia, Canada, South American, and many other places show, in vivid detail, that Impressionism was a word wide phenomenon.Buy this book as a gift or for your own collection.
3 of 3 people found the following review helpful:
5.0 out of 5 stars
The Impressionist World,
By Shellie (NSW Australia) - See all my reviews
This review is from: World Impressionism (Abradale Books) (Hardcover)
World Impressionism is the first book to trace the evolution of this most beloved school of painting from a truly international perspective. While most people think of Impressionism as a predominately French phenomenon that began and ended with Renoir, Pissarro, Cezanne, Sisely, Manet, Monet and Morisot this comprehensive and beautiful volume proves otherwise. Norma Broude and her team of international experts offer a soundly convincing argument for a world movement in Impressionism, and they succeed with flying colours! The scope of this book is truly breathtaking; with chapters on Impressionism in the Americas, Australia, Britain, Spain, Scandinavia, Russia and Japan amongst others. It sets out to show that towards the end of the 19th Century many artists around the world shared the same fascination with the effects of colour, sunlight and plein-air painting. The wonderful book reveals that this experimentation was not limited to a few unconventional artists working in splendid isolation but embraced whole groups of for the most part, younger artists eager to make their mark. While in many countries an Impressionist art movement developed as a direct result of strong French influence in others it was an evolution of native artistic traditions that paralleled French Impressionism, such was the case in Italy. So although many of the artists included in this volume would not have called themselves Impressionists, their works do bear a marked similarity to the paintings of the French Impressionists.Impressionism was an art at the crossroads for while it is considered by most art historians as the first truly modern art school, at the same time it's also seen as the last flowering of the conservative Western Realist Tradition. In its heyday most art critics and the general public alike were outraged and incensed by the loosely painted surfaces of the canvases, the bold use of vivid colours, or the apparent lack of academic finish. But an even worse shock for late 19th Century audiences was the sometimes controversial subject matter. For conspicuously absent were the idealized historical, mythological and biblical scenes or portraits of the bourgeoisie and aristocracy, subjects that were still the mainstay of the conventional salon painters of the era. In a rebellious break with creative orthodoxy the Impressionists instead chose to paint from real life as they saw it; such as scenes of humble domesticity, of peasant laborers honestly working away in the fields or depictions of seedy absinthe bars. Far more recognizable to modern audiences though are their dazzling paintings of sunbathed landscapes and tempestuous seascapes, and especially their sophisticated depictions of the leisured classes and contemporary urban life. A keen fascination in subject matter such as this was shared by many progressive artists all over the developed world who for want of a better term, can be labeled Impressionists. Inspired by the art of Japanese prints and constant developments in photography the Impressionists sought to convey the increasingly frenetic pace of modern 19th Century life. Today with the benefit of hindsight the paintings of the Impressionists appear quite safe and tame and one actually wonders what all the uproar was about, especially in view of what was to come a little later in the 20th Century! While most of the non Gallic painters included in this book are unknown outside of their respective homelands, in the countries in which they lived and worked it is a different story altogether for the major paintings of many of these artists are treasured as national icons and displayed with pride in significant art galleries and cultural institutions. This book for the first time brings together some of the most stunning examples of their paintings in one comprehensive volume that can be appreciated by an international audience, and puts their paintings into a worldwide context. From a young age I was exposed to the works of the Australian Impressionists; including such luminaries as Tom Roberts, Arthur Streeton, Charles Conder, Frederick McCubbin and second generation Impressionists such as Rupert Bunny. With their evocative depictions of the hustle and bustle of colonial cities such as Sydney or Melbourne and especially their beautiful paintings of the Australian bush and its legendary pioneers, shearers, gold miners and bush rangers... they are like a window in time onto a bygone era. Painted in muted and subdued palettes these dazzling canvases perfectly capture the essence of the sun bleached Australian landscape, and are rightly considered to be genuine masterpieces of early Australian art. Looking back the creative oeuvres of this small handful of brilliant young artists have in no small way shaped how we aussies perceive the harsh, rugged and sometimes unforgiving yet truly unique countryside of our beloved homeland. At around two hundred or more pages this hefty tome is certainly an exhausting read, but if you are patient and persevere you'll undoubtedly be richly rewarded. World Impressionism is now viewed by many art lovers and historians as the definitive book on this school of painting (on reading you will understand why) for with impeccable scholarship and sumptuous full colour pictures it truly raises the standard for future titles on the subject, and I think will be a hard act to follow. So for anyone who passionately admires and loves the Impressionists and their timeless art I strongly urge you to buy this fascinating book, for it will broaden your horizons and perhaps give you a deeper appreciation of all things Impressionist.
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