Gustave Courbet (1819-77) was a French artist whose work heralded the realist movement of the nineteenth century and his paintings have had a profound influence on other artists from around the world, including Claude Monet, James McNeill Whistler, and Paul Cézanne. This catalog is published to accompany an exhibition of the same name at the McMullen Museum, Boston College, in the autumn of 2013, which was put together in tandem with the Royal Museums of Fine Arts of Belgium. Approaching its subject from a unique perspective, Courbet: Mapping Realism looks at the artist's reception on both sides of the Atlantic, and includes paintings by Courbet himself, as well as Belgian and American realist-influenced artists. American and Belgian scholars, including Jeffery Howe, Claude Cernuschi, Dominique Marechal, and Katherine Nahum, contribute essays that explore Courbet's art in light of this expanded view of his career. Complete with color illustrations, Courbet: Mapping Realism showcases artwork from both the United States and Belgium that are rarely exhibited or published together.

This book shows the work of Alberto Giacometti and Francis Bacon which was inspired by Isabel Rawsthorne. Isabel herself was an artist who moved to Paris in the mid-1930s and both the artists had a unique and special relationship with Isabel at different times in their lives.

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.

From distorted self-images to brutal portrayals of friends and fellow artists, the portraits of Francis Bacon account for one of the most remarkable aspects of the work of the British painter. This work looks at his stylistic distortions of classicism and his famous deformations. Milan Kundera provides an introduction explaining his personal response to Bacon's work, exploring the paradox that lies in the faithfulness of the distorted images, and linking Bacon's genius with that of Samuel Beckett, both working at the outer limits of their art. France Borel's essay sets Bacon's works in the context of his life and influences and explains his approach to portraiture.

This edited collection traces the impact of monographic exhibitions on the discipline of art history from the first examples in the late eighteenth century through the present. Roughly falling into three genres (retrospectives of living artists, retrospectives of recently deceased artists, and monographic exhibitions of Old Masters), specialists examine examples of each genre within their social, cultural, political, and economic contexts. Exhbitions covered include Nathaniel Hone’s 1775 exhibition, the Holbein Exhibition of 1871, the Courbet retrospective of 1882, Titian's exhibition in Venice, Poussin's Louvre retrospective of 1960, and El Greco's anniversaty exhibitions of 2014.