This volume presents 115 drawings and paintings from the holdings of collector Karen B. Cohen. The 19th-century French and English works include landscapes, portraits, figure compositions, and still lifes by great artists of the romantic period and of the Barbizon and Realist schools, beginning with Prud'hon and ending with Seurat. Among the highlights is a group of little known works by Courbet and a series of cloud studies by Constable. Ives (curator, The Metropolitan Museum of Art) provides documentation and commentary for each work, placing it within the context of the artist's development and connecting it to contemporary artistic trends and innovations. Curator Elizabeth E. Barker contributed entries on Constable and Bonington. Annotation copyrighted by Book News Inc., Portland, OR

This catalogue reproduces nearly 500 works which include the most significant group of drawings outside France by such masters as David, Gericault, Ingres, Delacroix and Prud'hon. Many of the drawings are published here for the first time

Painting, Politics and the Struggle for the ?ole de Paris, 1944-1964 is the first book dedicated to the postwar or 'nouvelle' ?ole de Paris. It challenges the customary relegation of the ?ole de Paris to the footnotes, not by arguing for some hitherto 'hidden' merit for the art and ideas associated with this school, but by establishing how and why the ?ole de Paris was a highly significant vehicle for artistic and political debate. The book presents a sustained historical study of how this 'school' was constituted by the paintings of a diverse group of artists, by the combative field of art criticism, and by the curatorial policies of galleries and state exhibitions. By thoroughly mining the extensive resources of the newspaper and art journal press, gallery and government archives, artists' writings and interviews with surviving artists and art critics, the book traces the artists, exhibitions, and art critical debates that made the ?ole de Paris a zone of aesthetic and political conflict. Through setting the ?ole de Paris into its artistic, social, and political context, Natalie Adamson demonstrates how it functioned as the defining force in French postwar art in its defence of the tradition of easel painting, as well as an international point of reference for the expansion of modernism. In doing so, she presents a wholly new perspective on the vexed relationships between painting, politics, and national identity in France during the two decades following World War II.

By combining Daumier's drawings with selected examples of his paintings, prints, and bronzes, this book traces the evolution of the artist's succinct and emphatically expressive style from its roots in the European tradition exemplified by Rembrandt, Rubens, and Fragonard to its modern manifestations in the works of Degas, Cezanne, Toulouse-Lautrec, and Beckmann. In the course of his long and productive career Daumier returned again and again to favorite themes, often after considerable lapses of time. Thus the works here are grouped by their subject matter into six sections: studies of individual figures and faces; narrative scenes inspired by history or literature; views of contemporary urban and domestic life; dramatic portrayals of lawyers in court; depictions of street performers; and episodes in the wanderings of Don Quixote and Sancho Panza.

Each number is devoted to one artist and includes bibliography of the artist.

Winner, 1990 Berkshire Conference Book Award Art Nouveau in Fin-de-Siecle France: Politics, Psychology, and Style explores the shift in the locus of modernity from technological monument to private interior. It examines the political, economic, social, intellectual and artistic factors, specific to late 19th century France, that interacted in the development of art nouveau.