Gustave Caillebotte was more than a painter: he collected and researched postage stamps; designed and built yachts; administered and participated in the sport of yachting; collected paintings; cultivated and collected rare orchids; designed and tended his gardens; and engaged in local politics. Gustave Caillebotte as Worker, Collector, Painter presents the first comprehensive account of Caillebotte's manifold activities. It presents a completely new critical interpretation of Caillebotte's broad career that highlights the singular salience of 'work', and which intersects histories and theories of visual culture, ideology, and psychoanalysis. Where the recent art historical 'rediscovery' of Caillebotte offers multiple narratives of his identification with working men, this book goes beyond them towards excavating what his work was in its own terms. Born to an haut bourgeois milieu in which he was never completely comfortable and assailed by traumatic familial bereavements, Caillebotte adopted and adapted the ideologically normative category of work for his own purposes, deconstructing its ostensibly class-determinate parameters in order to bridge the chasm of his social alienation.

Gustave Caillebotte was more than a painter: he collected and researched postage stamps; designed and built yachts; administered and participated in the sport of yachting; collected paintings; cultivated and collected rare orchids; designed and tended his gardens; and engaged in local politics. Gustave Caillebotte as Worker, Collector, Painter presents the first comprehensive account of Caillebotte's manifold activities. It presents a completely new critical interpretation of Caillebotte's broad career that highlights the singular salience of 'work', and which intersects histories and theories of visual culture, ideology, and psychoanalysis. Where the recent art historical 'rediscovery' of Caillebotte offers multiple narratives of his identification with working men, this book goes beyond them towards excavating what his work was in its own terms. Born to an haut bourgeois milieu in which he was never completely comfortable and assailed by traumatic familial bereavements, Caillebotte adopted and adapted the ideologically normative category of work for his own purposes, deconstructing its ostensibly class-determinate parameters in order to bridge the chasm of his social alienation.

PAUL CEZANNE (1839-1906) is an important figure in the progress of modern European painting. In his dedicated concern with form and structure, he stands apart from the mainstream of Impressionist painting, extending its range into a new art of visual analysis. Cezanne, sensitive and shy, shunned the Parisian cafe society of his fellow artists, preferring to live and work alone in his native Provence which provided the inspiration for so many of his paintings. Less immediately appealing to a wider audience than, for example, Monet and Degas, Cezanne is nonetheless of immense importance through the influence he exerted on so many of the artists who followed him, such as Picasso and Matisse. Blessed with financial independence through the efforts of his banker father, he fortunately enjoyed a freedom to pursue his art without the demands of making a living felt by so many of his fellow artists.

Professor Kermit Champa shares his new insight into the musical climate of the time; Fronia Wissman reexamines the relation of these avant-garde artists to the official Paris Salon; Richard R. Brettell presents the critical and theoretical background that provided a context for the rise of landscape painting; and Deborah Johnson traces in new ways the combined influence of the Japanese print and photography on painting. Insightful entries on the individual artists sort out the role of the painters and their work in the art-historical and musical context of mid-nineteenth-century life.

Arranged geographically and chronologically, this book brings together all the major movements in art, architecture and the visual arts over the past 800 years. From prehistoric cave paintings to Post-modernism and present-day computer art, each period is placed in its historical and social context.

This new revised edition of an established survey of 19th century European painting from David through Cézanne includes new chapters with fifteen new illustrations on four notable women artists-- Angelika Kauffmann, Elizabeth Vigée-Lebrun, Berthe Morisot, and Mary Cassatt. This edition also contains further text revisions and updates to the bibliographies. The focus of 19th Century European Painting remains on the important artists and movements of the period with chapters on each artist's life and work, characteristics of style, and the relationship of the artistic movements to historical and intellectual currents of the time.Neoclassicism, Romanticism, Realism, Academics and Salon Painters, and Impressionism are covered and the following artists receive substantial monographic treatment: David and his followers, Goya, Ingres, Géricault, Delacroix, Corot, Courbet, Millet and the Barbizon painters, Manet, Monet, Degas, Renoir, Sisley, Pissarro, and Cézanne. There are 435 illustrations, suggested readings and references, and an index..

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