During her lifetime, Mary Cassatt (1844-1926) achieved great fame in both France and America. But while she is still highly regarded in the United States, she is now somewhat overlooked in France, where she lived and worked for more than sixty years and where she became the only American artists to exhibit with the Impressionists in Paris. The exhibition 'Mary Cassatt: An American Impressionist in Paris', held in the Musée Jacquemart-André, is the first retrospective dedicated to the painter in France since her death. The exhibition will bring together around fifty major works on loan from museums and institutions ... Oils, pastels, and prints retrace Cassett's entire career, explore the modernity of her approach, and show how she became one of the leading figures of the avant-garde movement of her day. This catalogue, which complements the exhibition, presents the various facets of an artist who had a complex career: a classically trained painter who became an Impressionist, the brilliant creator of the 'Modern Madonna', and a tireless experimenter, Cassatt was also an ardent supporter of women's suffrage. This catalogue aims to restore Cassatt to her rightful place in the history of modern art.

Step into the revolutionary lives of the impressionists with Art + Paris, the most comprehensive guidebook to impressionism for the armchair traveler, lovers of Paris, and educators alike. Illustrated with hundreds of beautiful full-color photos and maps, this unique guide combines an introduction to late 19th-century art history with reproductions of famous impressionist masterpieces, walking tours, and detailed listings of the city's art-related sites. It provides a complete background course on impressionism, with comprehensive biographies and engaging essays about the movement; listings for 150 must-see impressionist paintings in Paris with the stories behind the art; easy-to-follow tours of where the artists lived and found inspiration; and an extended-travel journey through the French countryside, exploring Normandy and the quaint Paris suburbs.

"Japan and Paris demonstrates the deep cross-cultural nature of art in Japan from about 1880 to 1930. Illustrated with masterpieces from Japanese collections by Matisse, Renoir, Toulouse-Lautrec, Corot, Cezanne, and Monet, it explores the history of collecting Western art in Japan and its influence on Japanese modern art. In particular, it addresses the development of Western-style modernist impulses as Japan's early interest in the Barbizon School extended to include modes of expression such as Impressionism, Postimpressionism, Symbolism, Cubism, and Fauvism. In addition to showcasing works by some of the best-known French and European painters, works by Japanese artists who were instrumental in the introduction of Western modes of expression to Japan are included, such as Kojima Zenzaburo, Kume Keiichiro, Maeda Kanji, Mitsutani Kunishiro, and Fujita Tsuguharu."

A magnificently illustrated showcase of works by artists in Paris at the dawn of the 20th century In Paris at the turn of the 20th century, an artistic revolution was underway. The Salon des Indépendants was organized in 1884 by a group of artists and thinkers that included Albert Dubois-Pillet, Odilon Redon, Georges Seurat, and Paul Signac, who was the organization's president from 1908 to his death in 1935. They chose as their slogan "neither jury nor reward" (ni jury ni récompenses), and for the following three decades their annual exhibitions set new trends that profoundly changed the course of Western art. This beautifully illustrated volume features paintings and graphic works by an impressive range of artists who exhibited at these avant-garde gatherings where Impressionists (Monet and Morisot), Fauves (Dury, Friesz, and Marquet), Symbolists (Gauguin, Mucha, and Redon), Nabis (Bonnard, Denis, and Lacombe), and Neo-Impressionists (Cross, Pissarro, and Seurat) all came together. Distributed for Editions Hazan, Paris Exhibition Schedule: Montreal Museum of Fine Arts (July 4-November 15, 2020)

A collection of artwork for children by Vincent van Gogh and other French artists.

The essays in this wide-ranging, beautifully illustrated volume capture the theoretical range and scholarly rigor of recent criticism that has fundamentally transformed the study of French Impressionist and Post-Impressionist art. Readers are invited to consider the profound issues and penetrating questions that lie beneath this perennially popular body of work as the contributors examine the art world of late nineteenth-century France—including detailed looks at Monet, Manet, Pissarro, Degas, Cézanne, Morisot, Seurat, Van Gogh, and Gauguin. The authors offer fascinating new perspectives, placing the artworks from this period in wider social and historical contexts. They explore these painters' pictorial and market strategies, the critical reception and modern criteria the paintings engendered, and the movement's historic role in the formation of an avant-garde tradition. Their research reflects the wealth of new documents, critical approaches, and scholarly exhibitions that have fundamentally altered our understanding of Impressionism and Post-Impressionism. These essays, several of which have previously been familiar only to scholars, provide instructive models of in-depth critical analysis and of the competing art historical methods that have crucially reshaped the field. Contributors: Carol Armstrong, T. J. Clark, Stephen F. Eisenman, Tamar Garb, Nicholas Green, Robert L. Herbert, John House, Mary Tompkins Lewis, Michel Melot, Linda Nochlin, Richard Shiff, Debora Silverman, Paul Tucker, Martha Ward

From T.J. Clark comes this provocative study of the origins of modern art in the painting of Parisian life by Edouard Manet and his followers. The Paris of the 1860s and 1870s was a brand-new city, recently adorned with boulevards, cafés, parks, Great Exhibitions, and suburban pleasure grounds—the birthplace of the habits of commerce and leisure that we ourselves know as "modern life." A new kind of culture quickly developed in this remade metropolis, sights and spectacles avidly appropriated by a new kind of "consumer": clerks and shopgirls, neither working class nor bourgeois, inventing their own social position in a system profoundly altered by their very existence. Emancipated and rootless, these men and women flocked to the bars and nightclubs of Paris, went boating on the Seine at Argenteuil, strolled the island of La Grande-Jatte—enacting a charade of community that was to be captured and scrutinized by Manet, Degas, and Seurat. It is Clark's cogently argued (and profusely illustrated) thesis that modern art emerged from these painters' attempts to represent this new city and its inhabitants. Concentrating on three of Manet's greatest works and Seurat's masterpiece, Clark traces the appearance and development of the artists' favorite themes and subjects, and the technical innovations that they employed to depict a way of life which, under its liberated, pleasure-seeking surface, was often awkward and anxious. Through their paintings, Manet and the Impressionists ask us, and force us to ask ourselves: Is the freedom offered by modernity a myth? Is modern life heroic or monotonous, glittering or tawdry, spectacular or dull? The Painting of Modern Life illuminates for us the ways, both forceful and subtle, in which Manet and his followers raised these questions and doubts, which are as valid for our time as for the age they portrayed.