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i am indifferent to it. i only bought this book for a class. so, whatever.
From this he infers that the man is trying to pick up the jeune fille. The writing is lively. Looking at an outdoor cafe scene by Manet, he notices that the young man at the table with a woman is actually kneeling next to her, not seated there. I'm just so glad to find it available at such a reasonable price.
There are also a lot of works by Gustave Caillebotte whose compositions are so fascinating. Usually a treatment of Impressionism will write of it as a movement in response to the paintings of the Academy; an inquiry into the play of light and instantaneity. I think this is a terrific book for a lover of Impressionism and/or a lover of Paris. People (many of them young) were moving into the city and feeling the displacement and dehumanization which we usually associate with depictions of Victorian era London.Herbert spends a good bit of time looking at the clothing of individuals portrayed in paintings to ruminate about their social standing. This is one of the most memorable books I used as source material. Fine, fine, but how many books do we really need that say the same thing. His keen eye for gesture picks up a lot. The rather prudish look on her face seems to confirm that this is what's happening.The copious illustrations are wonderful.
It's a wonderful fusion of images and prose. I taught college level painting and art history courses for ten years. This book looks at changes in the architecture of Paris which changed the city from a network of villages into a web of wide boulevards and massive, sometimes monotonous buildings. Many are of paintings which are infrequently reproduced in art books.
I found the writing easy to follow and Mr.Herbert's command of his subject matter is fantastic. If I were to rate this, it would be at the very top of my list of recommended reading, not only for artists or historians, but for anyone interested in the subject. This was one of the most informative books I have read on the subject of Impressionism. The narrative was so that one could grasp the concepts and his writing style was a delight.
An excellent read and an easy study. As I began to read it, more for pleasure than anything else, I found that I was actually interested enough to continue reading it until the end. I must say that I've read quite a few Impressionist books in recent years. In no way do they come close to the entertainment and ease which I found in this book. There was no overtly boring or tedious sections to the book and the full page photos only helped to enliven my imagination.
Generally received very well and highly recommended to broad audiences, the book makes an excellent material for course reading. He also ties the main motifs in each of the artist's works to their social background and upbringing. The style of writing and language are very pleasant, which makes the reading rather delightful. In addition, although the author does it in several cases, he could have used more comparisons of the impressionist pieces to earlier works.
The female impressionists are briefly represented by Berthe Morisot and Mary Cassatt, which indeed could have been developed into a topic on its own. Nevertheless some criticism can be made. It would have been a little bit more exciting to have images of Titian's Venus of Urbino and Edouard Manet's Olympia next to each other, rather than having to be satisfied with a verbal comparison. The manner, in which Robert L. Such restrictions also permit the author to ignore late Impressionism as well as Post Impressionism, which could have made the book on Impressionism more complete. The new Paris with its broad boulevards in author's opinion is directly related to emergence of the new trend in art, the Impressionism. Herbert toward Impressionism in his book "Impressionism: Art, Leisure, and Parisian Society" is that of a social historian, rather than that of a traditional art historian.
The book gives a rather detailed description of style of life of the Parisians of the mid to late 19th century. Herbert has divided his book into chapters, makes it evident that the book has been developed on the basis of lecture notes. Overall, the book is very interesting and the author expresses some innovative and intriguing ideas. Each chapter of the book discusses in detail a particular subject, an aspect of Parisian social scene. The book focuses on social history of Impressionism, and taking into consideration the above-mentioned restrictions, the book covers the themes of Parisian social life very well.
What makes it especially interesting is the inclusion of the accounts by contemporary visitors, who express their ideas on the new "Haussmannian" Paris. Instead the structure chosen by the author permits the reader only the review of the early Impressionism, rather the examination of the entire style. This does not necessarily imply looking for similar themes in earlier pieces for each of the impressionist paintings. Herbert also employs an unusual comparison of the paintings in his book: rather than comparing impressionist pieces to works of earlier periods, he makes comparisons among the impressionist paintings always tying the theme of the pieces to the social situation. The factor that makes it innovative and especially interesting for a wide audience of readers is the author's insight, his relation of emergence and development of Impressionism to the social institutions and changes in the lifestyles of the French and especially those of the Parisians. Interesting parallel between the backgrounds of each of the artists, mentioned in the very last chapter of the book could have been broadened and perhaps supplied with a brief biography of each one of the key impressionists. Herbert gives reader a very interesting insight into the lifestyles of Parisians of the early 1860's to mid-1880's.
Nevertheless, being a book on Impressionism the alternative manner of structuring such a piece could have been either by artist or in chronological order, which could have been advantageous in a way that the present structure could have been preserved to an extent, but there would not have been such a heavy reliance on only four artists, Manet, Monet, Renoir and Degas, and the author could have paid more attention to such artists as Camille Pissaro, Alfred Sisley and Gustave Caillebotte, whom he mentions rather marginally. The author refrains from using terms unknown to a common reader. Perhaps, that is the reason why the author overlooks some themes in the impressionism, such as still life, landscape, riverscape, portraiture, series paintings and painting in the Southern France, Italy and England. Such manner brings out very interesting and often times omitted issues, such as the social structures, status and institutions and their role in the development of art. Certainly, this brings about a very peculiar angle to the subject. It is evident that the approach taken by Robert L. The book is very well structured and gives a good overview of the early Impressionism.
Supplied with a broad variety of images (311), which include paintings of the leading impressionists, such as Edouard Manet, Claude Monet, Auguste Renoir and Edgar Degas, as well as contemporary prints and posters, photographs, plans and maps of Paris and its surroundings, the material is colourful and exciting. Restricted timeframe, the period from the early 1860's to mid-1880's, and specific attachment to Parisian social scene bring out constricting boundaries on the development of the subject of Impressionism in general. Moreover Herbert lacks an important topic: change of style throughout the course of the career of such artists as Degas and Monet, which could have made an interesting issue. However it also limits the discussion to a particular physical setting, in this case to the city and surroundings of Paris, as well as to a limited timeframe, which clearly does not reflect the full extent of Impressionism. The book "Impressionism: Art, Leisure, and Parisian Society" by Robert L. Robert L. However the author is rather limited in discussion on style of each artist.
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