Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Other Sellers on Amazon
+ $3.99 shipping
+ $5.24 shipping
+ $3.99 shipping
The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism Paperback – November 28, 2006
|New from||Used from|
The Amazon Book Review
Author interviews, book reviews, editors picks, and more. Read it now
Frequently bought together
Customers who bought this item also bought
From Publishers Weekly
Listening to Layton is like sitting at a Left Bank cafe with a British friend who knows both the history and gossip of the 1860s' Paris art scene and can put it all in political context. Layton has a friendly, low-pitched voice, good tempo and pace. He's never overly dramatic, but does lift an amusing vocal eyebrow quoting some of the more pompous figures of the period. King describes the mid-century revolution in French art by focusing on the lives and canvases of the extremes of the period. Ernest Meissonier is wildly successful and wealthy, patiently mirroring every face and frock and hoofbeat in precise historical detail, while Edouard Manet is rejected and scorned by the public, peers, critics and buyers for the manner in which he illuminated his impressions of scenes and characters. As Manet gradually moves from brown hues to vibrant colors and from classical to modern settings, King shows his influence on those younger contemporaries—Monet, Pissarro, Renoir, Cezanne, Degas et al.—who came to be known as the Impressionists. Artists, art historians and connoisseurs will be transfixed by this description of the seismic shift in art from the mirror to the lamp. The rest of us may slide over the names of unfamiliar artists, critics, mistresses, models and political figures to focus on the heart of this fascinating story.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
From Bookmarks Magazine
Ross King has an impressive track record chronicling the transformative nature of genius. His Brunelleschi's Dome and Michelangelo and the Pope's Ceiling (**** Mar/Apr 2003) wrapped their author's extensive knowledge of European culture in brisk, compelling prose. King continues his march through art history's great moments in The Judgment of Paris and emerges with another triumph. Though the central drama is focused on Manet and Meissonier, The Boston Globe criticizes the book as "at heart an institutional, rather than artistic history." But it is King's sympathy for the fortunes of both Meissonier and Manet that affords him the narrative backbone to paint such a far-reaching story onto one interesting canvas.
Copyright © 2004 Phillips & Nelson Media, Inc. --This text refers to an out of print or unavailable edition of this title.
Browse award-winning titles. See more
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
First, stated better than I could, while the former is the example of the Great Success in his own lifetime disappearing in the face of the new after his death, this reader was convinced that his fate was undeserved, that the public has been poorly served by the critical desertion of his work. One need only stand aside watching the reception of what he thought of as his masterpiece still strikingly present on the walls of the Metropolitan Museum in NYC. Many who pass on their way to the Impressionists and other modernists, stop along the way to enjoy the striking view of Napoleon and his cavalry. (That he was later criticized for presenting an historically implausible situation hardly deters any of us.) So, I am quite happy that King provides us with an introduction to this painter whom later generations of critics and buyers has unfairly relegated to the scrapheap. Second, he does a fine job in exploring the influence of politics and institutional shortcoming in rewarding and punishing aesthetic production. The particular institutions may have changed over the years but still reward and punish whimsically so far as aesthetic value to the public is concerned.The message is brightly spotlighted though not precisely spoken: don't take anyone else's word as to what you should like (although be aware that it will be reflected in what you have to pay if you buy and to what you will receive if you sell).
So, in brief, for the general reader, a book well-worth reading for the knowledge it imparts and for the pleasure with which many will find in it.
While many interesting bit actors are stuffed into this drama, the real focus is on Manet and the now forgotten Meissonier. Through their two lives the birth of Impressionism (and the decline of old art truths) and the companion political fate of the government of Louis-Napoleon are nicely described.
In my judgement, this book will appeal to anyone with an interest in the striking art and political upheavals that centered on Paris in the 1860s and 70s--- while serving as a nice cautionary tale on the fragile nature of artistic fame.
The author does a fine job of remaining neutral. My belief that Manet was a genius remains unshaken, though my guilty pleasures of admiring the historical exactitude of Meissonier have been completely turned around. About time the latter's staue was returned to The Louvre.