Customer Reviews
The Definitive Book on Impressionism 
2007-07-16
World Impressionism is the first book to trace the development of this most beloved of painting schools from a truly international perspective. While most people think of Impressionism as a predominately French phenomenon that began and ended with Renoir, Pissarro, Cezanne, Sisley, Manet, Monet and Morisot, this comprehensive and beautiful volume proves otherwise. Norma Broude and her team of international experts offer a convincing and sound argument for a world movement in Impressionism, and they succeed with flying colours. The scope of this book is breathtaking with chapters on Impressionism in Australia, Spain, Scandinavia, Russia, Japan, and the Americas amongst others. It sets out to show that at 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 book reveals that this experimentation was not limited to a few unconventional artists working in isolation, but embraced whole groups of for the most part younger artists eager to make their mark. Although most of the artists included in this volume would not have directly called themselves Impressionists, their works do bear a marked similarity to the paintings of the French Impressionists. While in many countries an Impressionist art movement developed as a result of a strong French influence, in others it was an evolution of independent artistic traditions that paralleled French Impressionism, such as in Italy.
Impressionism was an art at the crossroads. It is considered by most art historians as the first truly modern art school, yet at the same time as the last flowering of the conservative and stale Western realist tradition in "fine art". 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 colour or the apparent lack of academic finish. But an even worse shock for late 19th century audiences was the sometimes controversial subject matter. Absent were the idealised mythological and biblical scenes or portraits of the bourgeoisie, subjects that where still the mainstay of the conventional salon painters of the era. In a rebellious break with creative orthodoxy, the Impressionists chose to paint from real life, such as scenes of humble domesticity or pictures of the daily life of the ordinary people. Far more recognisable to modern audiences though are their dazzling paintings of sun bathed landscapes and seascapes or their sophisticated depictions of 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 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 in the 20th century!
World Impressionism is filled brim to brim with vibrant examples of the timeless masterpieces created by artists from all corners of the globe who painted in the Impressionist manner. Most of the non Gallic painters included in this book are unknown outside of their respective homelands, however in the countries in which they lived and worked it is a different story altogether. With the major paintings of many of these artists being treasured as national icons and displayed with pride in significant art galleries and museums. This book for the first time brings together some stunning examples of their paintings in one comprehensive volume that will 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, artists such as Tom Roberts, Arthur Streeton, Charles Conder, Frederick McCubbin and second generation Impressionists like Rupert Bunny. With their depiction's of the hustle and bustle of colonial cities like Sydney and Melbourne or their wonderful paintings of the Australian bush and outback and the larger than life characters that inhabited them they have become classics of Australian art. They painted in muted and subdued palettes that perfectly captures the essence of the sun bleached Australian landscape. These paintings have in no small way shaped how we as Australians perceive the harsh and sometimes unforgiving countryside of our homeland.
At around two hundred pages this hefty tome is certainly an exhausting read but if you are patient and persevere you will be richly rewarded. World Impressionism is now viewed as the definitive book on this school of painting (on reading you will understand why) and with impeccable scholarship and sumptuous full colour pictures raises the standard for future titles on the subject, and will be a hard act to follow. For anyone who admires the Impressionists and loves their works I strongly urge you to buy this book; it will broaden your horizons and give you a deeper understanding of Impressionism.
An "eye opener", indeed... 2000-06-03
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.
