‘A lover of light’: in 1912, a French critic used these words to describe the great Danish painter Peder Severin Krøyer, who had close ties to the French art scene for more than two decades. Krøyer first visited Paris in 1877, and his many letters clearly show the impact French art had on Krøyer’s own development as a painter, on the artists’ colony in Skagen, and on Danish art history in general. In Krøyer and Paris. French Connections and Nordic Colours, art historians Mette Harbo Lehmann and Dominique Lobstein describe Krøyer’s artistic development from the Golden Age tradition favoured by the Danish academy to Naturalism and the Modern Breakthrough. They show how inspiration from France can be traced in his painting technique and his open-air paintings from Skagen, revealing how French Naturalism made its mark on Krøyer’s distinctive style. Krøyer and Paris has also been published in Danish.

This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.

'The lover of light': these were the words used in 1928 by a French critic seeking to describe the great Danish painter Peder Severin Kroyer (1851-1909), who had close ties to the French art scene for more than two decades. Kroyer first arrived in Paris in 1877, and his diaries and travel notes speak eloquently of the crucial impact that French art had on not just Kroyer's own development as a painter, but also on the artists' colony in Skagen and Danish art history in general. In the book, art historians Mette Harbo Lehmann and Dominique Lobstein describe Kroyer's artistic development, progressing from the Royal Danish Art Academy's focus on Danish Golden Age tradition to the advent of Realism and the Modern Breakthrough. They show how inspiration from France can be traced in his atmospheric paintings, especially from Skagen, and point out how French Impressionism influenced Kroyer's distinctive style. The book accompanies the exhibition Kroyer and Paris, on display at the Skagen Museum from 13 May to 18 September 2022, but also constitutes an independent contribution to the study of Kroyer's works and his French connections.

Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art. Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe. The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity. Key pedagogical features include: Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks. Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working. Beautifully illustrated with over 250 color images. Margin notes and glossary definitions. Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration. Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study. Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siècle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).