The essential Impressionist No other artist, apart from J. M. W. Turner, tried as hard as Claude Monet (1840–1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called “only an eye, but my God what an eye!” who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of water lilies, painted in his own garden at Giverny, which, in their approach towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

Ни один другой художник, кроме Дж. М. У. Тернера, не пытался так усердно, как Клод Моне (1840–1926), запечатлеть на холсте сам свет. Из всех импрессионистов это был человек, которого Сезанн называл «всего лишь глаз, но боже мой, какой глаз!», кто остался верен принципу абсолютной верности зрительному ощущению, рисуя прямо с объекта. Можно сказать, что Моне заново изобрел возможности цвета. Будь то его ранний интерес к японской гравюре, время, проведенное им в качестве призывника в ослепительном свете Алжира, или его личное знакомство с крупными художниками конца 19-го века, работы Моне, созданные на протяжении всей его долгой жизни, навсегда изменят его образ, мы воспринимаем как мир природы, так и сопутствующие ему явления. Кульминацией его исследований стала поздняя серия водяных лилий, нарисованных в его собственном саду в Живерни, которые в своем приближении к почти полной бесформенности действительно являются источником абстрактного искусства. Эта биография полностью отдает должное этому самому замечательному и влиятельному художнику и предлагает многочисленные репродукции и архивные фотографии наряду с подробными и проницательными комментариями.No other artist, apart from J. M. W. Turner, tried as hard as Claude Monet (1840–1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cézanne called “only an eye, but my God what an eye!” who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of water lilies, painted in his own garden at Giverny, which, in their approach towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

Ни один другой артист, кроме J.M.W. Тернер, как и Клод Моне (1840–1926), старался запечатлеть на холсте сам свет. Из всех импрессионистов именно человек, которого Сезанн называл «всего лишь глаз, но боже мой, какой глаз!», оставался верен принципу абсолютной верности зрительному ощущению, рисуя прямо с объекта. Можно сказать, что Моне заново изобрел возможности цвета. Будь то из-за его раннего интереса к японской гравюре, из-за того, что он был призывником в ослепительном свете Алжира, или из-за его личного знакомства с крупными художниками конца 19-го века, работы Моне, созданные на протяжении его долгой жизнь навсегда изменят то, как мы воспринимаем как мир природы, так и сопутствующие ему явления. Кульминацией его исследований была поздняя серия кувшинок, нарисованных в его собственном саду в Живерни, которые в своем приближении к почти полной бесформенности на самом деле зарождение абстрактного искусства. Эта биография полностью отдает должное этому самому замечательному и глубоко влиятельному художнику и предлагает многочисленные репродукции и архивные фотографии наряду с подробным и проницательным толковый комментарий.No other artist, apart from J.M.W. Turner, tried as hard as Claude Monet (1840–1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cézanne called “only an eye, but my God what an eye!" who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of waterlilies, painted in his own garden at Giverny, which, in their approach toward almost total formlessness, are really the origin of abstract art.This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

Master of the sublime The essential Impressionist "This is the work on Monet; anything published before or after it will seem minor in comparison [...]. It is the only readily available publication that gives a complete record of Monet's work - in other words, it is definitive." -The Good Book Guide, London Along with Turner, no artist has sought more than Claude Monet (1840-1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called "only an eye, but my God what an eye!" who stayed completely true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of colour, and whether it was through his early interest in Japanese prints, his time in the dazzling light of Algeria as a conscript, or his personal acquaintance with the major painters of the late 1800s, what Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations were the late series of waterlilies, painted in his own garden at Giverny, that, in their moves towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential of artists, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary. The author: Daniel Wildenstein (1917-2001) was an art historian and member of the Academie des Beaux-Arts (Paris). From 1939 onwards, he was Director of the Wildenstein Galleries of New York, London and Tokyo. He edited several international journals, e.g. the magazine Arts from 1956-1962 and the Gazette des Beaux-Arts after 1963. He co-founded the Fondation Wildenstein in 1970 (it was renamed the WildensteinInstitute in 1984), and was a prime mover in many exhibitions of international repute. Daniel Wildenstein also edited the catalogues raisonnes of various 18th, 19th and 20th century artists. He was a world authority on Impressionism, and published catalogues of the works of Gauguin, Manet and Monet.

No other artist, apart from J.M.W.Turner, tried as hard as Claude Monet to capture light itself on canvas. Of all the Impressionists, it was the man C?zanne called "only an eye, but my God what an eye!" who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of waterlilies, painted in his own garden at Giverny, which, in their approach toward almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

No other artist, apart from J.M.W.Turner, tried as hard as Claude Monet to capture light itself on canvas. Of all the Impressionists, it was the man C?zanne called "only an eye, but my God what an eye!" who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object.It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of waterlilies, painted in his own garden at Giverny, which, in their approach toward almost total formlessness, are really the origin of abstract art.This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

No other artist, apart from J.M.W.Turner, tried as hard as Claude Monet to capture light itself on canvas. Of all the Impressionists, it was the man C?zanne called "only an eye, but my God what an eye!" who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object.It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of waterlilies, painted in his own garden at Giverny, which, in their approach toward almost total formlessness, are really the origin of abstract art.This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

No other artist, apart from J. M. W. Turner, tried as hard as Claude Monet (1840–1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called “only an eye, but my God what an eye!” who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object.It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of water lilies, painted in his own garden at Giverny, which, in their approach toward almost total formlessness, are really the origin of abstract art.This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

No other artist, apart from J. M. W. Turner, tried as hard as Claude Monet (1840–1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called “only an eye, but my God what an eye!” who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object.It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of water lilies, painted in his own garden at Giverny, which, in their approach toward almost total formlessness, are really the origin of abstract art.This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

Impressionism is often considered the final nineteenth-century precursor to the radical experimentation of modernism. But every style has a precursor—so what movements paved the way for the atmospheric light, color, and composition characteristic of the impressionist works themselves? The Musée des Beaux Arts, Reims, offers a choice selection of nineteenth-century French paintings that trace the history of French art from the Romantics, to the School of Barbizon and the circle of Honfleur, up to Impressionism. This beautifully illustrated volume follows the artistic forebears that led up to the works of Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir, by way of pastel palettes, loose brushwork, ordinary figures, and natural landscapes.

No artistic education is complete without a healthy dose of Impressionism. Here fifty of the most important works from the early nineteenth through the early twentieth centuries are gorgeously reproduced, including the best of Monet, Degas, van Gogh, Renoir, Cezanne, Cassatt, Manet, Seurat, and Pisarro. Each piece is given a brief overview establishing its place in the Impressionist pantheon as well as in its artist's oeuvre. An introductory text explains the Impressionistic style, tracing the movement's development, while an appendix offers biographies of the artists. The result is a veritable tour on Impressionism, offering an enjoyable and practical art history lesson that everyone can enjoy.

L’essence de l’Impressionnisme A part Turner, aucun artiste n’a comme Claude Monet (1840–1926) travaille autant a capturer la lumiere sur la toile. De tous les impressionnistes, celui dont Cezanne disait qu’il n’etait «qu’un ?il, mais bon Dieu, quel ?il!» est le seul a ne jamais s’etre ecarte du principe de fidelite absolue a la sensation visuelle, peignant au plus pres de ce qu’il voyait. On dit que Monet a reinvente les possibilites de la couleur. Que ce soit a travers son interet precoce pour les estampes japonaises, le temps qu’il a passe pendant son service militaire sous la lumiere eblouissante de l’Algerie ou le fait qu’il connaissait personnellement les plus grands peintres de la fin du XIXe siecle, il est vrai que ce que Monet a cree tout au long de sa carriere a change pour toujours notre maniere de percevoir le monde qui nous entoure tel qu’il est. Il atteint le sommet de ses recherches avec la serie tardive consacree aux nympheas, peinte dans son jardin de Giverny, qui, par la maniere dont elle se detache quasiment de la forme, constitue veritablement l’origine de l’art abstrait. Cette biographie rend justice a cet artiste remarquable qui compte parmi les plus marquants et offre de nombreuses reproductions et photos d’archives pour accompagner un commentaire aussi fin qu’approfondi.

Brushwork revolution: The neglected champions of Impressionism. It was a dappled and daubed harbor scene that gave Impressionism its name. When Impression, Sunrise by Claude Monet was exhibited in April 1874, critics seized upon the work's title and its loose stylistic rendering of light and motion upon water to deride this new, impressionistic, tendency in art. As with many seminal art movements, the critics got their comeuppance. Today, Impressionism is close contender for the world's favorite period of painting. With blockbuster exhibitions, record-breaking auction prices, and packed museums, the works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas. Despite its popularity and a whole host of publications, many areas and artists of Impressionism remain inadequately researched. This TASCHEN book fills the gap, raising the profile of unjustly neglected pioneers such as Berthe Morisot, Lucien Pissarro, and Gustave Caillebotte, while exploring the characteristics of Impressionism, from painting en plein air to vivid color contrasts, not only in the movement's native France but also across the rest of Europe and North America. About the series: Bibliotheca Universalis- Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price! Since we started our work as cultural archaeologists in 1980, the name TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together nearly 100 of our all-time favorite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia. Bookworm's delight - never bore, always excite!

The catalogue of the exhibition to be shown at the Cornell Fine Arts Museum, Winter Park, FL and the Frye Art Museum, Seattle, WA will present a choice selection of 19th century French paintings from the Musee des Beaux - Arts, Reims in order to trace the history of French art from the Romantics, to the School of Barbizon, the circle of Honfleur, and up to Impressionism. The Musee des Beaux - Arts, Reims owns the second largest collection of works by Jean - Baptiste Camille Corot after the Louvre as well as excellent landscape paintings by artists from the Barbizon School. Corot was one of the most significant painters involved with the Barbizonists. Studying the Reims holdings further it seemed evident to edit a catalogue and curate an exhibition that reach from the romantic spirit in French landscape painting to the School of Barbizon on to the group of artists around Eugene - Louis Boudin at Honfleur -- the true cradle of Impressionism -- and lastly to the Impressionists Claude Monet, Camille Pissarro and Pierre - Auguste Renoir.

A compact book containing 20 postcards featuring illustrations of artwork by Monet, Renoir, Degas and others. Impressionism is one of the world’s most popular and well known art movements. Originated by a group of 19th-century artists based in Paris, they were seen as the rebels of their time. The most famous Impressionist of them all has to be Claude Monet. This inspiring new colouring book produced in conjunction with the Thyssen art museum in Madrid features some of his most famous paintings including The Water Lily Pond and Woman with a Parasol. These postcards – that can easily be removed from the book – can be sent just as they are to friends and family, coloured in or even framed and hung on walls. They are bound to delight anyone who receives one.

Daniel Defoes classic tale of a solitary castaways survival and triumph, widely considered to be the first English novel. "I, poor miserable Robinson Crusoe, being shipwrecked, came on shore on this dismal unfortunate island, all the rest of the ships company being drowned. In despair of any relief, I saw nothing but death before me..." Thus Crusoe begins his journal in Daniel Defoes classic novel: the vividly realistic account of a solitary castaways triumph over nature--and over the fears, self-doubt and loneliness that are parts of human nature. For almost three centuries, Robinson Crusoe has remained one of the best known and most read tales in modern literature, a popularity owing as much to the enduring freshness and immediacy of its style as to its widely acknowledged status as the very first English novel.