When Oskar Reinhart (1885-1965) bequeathed a significant part of his remarkable art collection - chiefly of French nineteenth-century painting but also containing a number of outstanding Old Masters - to the Swiss nation, he did so on condition that the works of art would never be loaned. As a consequence the many very important works in the collection have not been discussed in major exhibition catalogues and have not received the scholarly attention they deserve. This volume, with full entries on the entire collection of 207 works by 45 leading scholars in their field, both American and European, and superb plates carefully checked against the originals, sets out to rectify this state of affairs. Artists represented by several works in the collection that Reinhart made his monument include: Cezanne (11), Chardin (4), Corot (9), Courbet (10), Daumier (20), Delacroix (9), Gericault (2), Van Gogh (5), Maillol (8), Manet (4), Picasso (4), Pissarro (2), Renoir (15), Sisley (2). A well illustrated introduction explains the ideas and context behind Reinhart's collecting and affords insights into his character.

Completely revised and updated, Let's Go: Austria and Switzerland is your insider's guide to the Alpine countries. Our forty-five years of travel savvy deliver must-have tips and insights--from listings for regional festivals and arts events to a guide to eating Swiss fondue. This edition features expanded coverage of skiing, hiking, biking, and extreme sports. Brand-new features, updated political and current events coverage, and more listings for study abroad and volunteer opportunities help you connect to Austrian culture and make a difference. Whether you'd rather listen to the ethereal song of the Vienna Boys' Choir or the shouts of leather-clad wrestlers at Schwingfest, Let's Go can take you there.

Based on an extensive and very meticulous study of different archives and the evaluation of original, previously unpublished, archival material, this book highlights the key aspects and trends of the European and American art markets in the late nineteenth and early twentieth centuries. In particular, the book focuses on how these markets influenced each other from the viewpoint of one of the most prominent museum directors of this period, Wilhelm von Bode (1845–1929). Given the complexity of the topic, the book is structured into two parts. The first part focuses on Bode’s interactions with the German banker and dedicated art collector based in Paris, Rudolphe Kann (1845–1905). The second part follows the sale of the Kann Collection to the dealer Joseph Duveen and follows on the relationship between Bode, Duveen and the American collectors. The book will be of interest to scholars working in art history, museum studies, and the art market.

Notions of civilization and barbarism were intrinsic to Eugène Delacroix’s artistic practice: he wrote regularly about these concepts in his journal, and the tensions between the two were the subject of numerous paintings, including his most ambitious mural project, the ceiling of the Library of the Chamber of Deputies in the Palais Bourbon. Exiled in Modernity delves deeply into these themes, revealing why Delacroix’s disillusionment with modernity increasingly led him to seek spiritual release or epiphany in the sensual qualities of painting. While civilization implied a degree of control and the constraint of natural impulses for Delacroix, barbarism evoked something uncontrolled and impulsive. Seeing himself as part of a grand tradition extending back to ancient Greece, Delacroix was profoundly aware of the wealth and power that set nineteenth-century Europe apart from the rest of the world. Yet he was fascinated by civilization’s chaotic underbelly. In analyzing Delacroix’s art and prose, David O’Brien illuminates the artist’s effort to reconcile the erudite, tradition-bound aspects of painting with a desire to reach viewers in a more direct, unrestrained manner. Focusing chiefly on Delacroix’s musings about civilization in his famous journal, his major mural projects on the theme of civilization, and the place of civilization in his paintings of North Africa and of animals, O’Brien links Delacroix’s increasingly pessimistic view of modernity to his desire to use his art to provide access to a more fulfilling experience. With more than one hundred illustrations, this original, astute analysis of Delacroix and his work explains why he became an inspiration for modernist painters over the half-century following his death. Art historians and scholars of modernism especially will find great value in O’Brien’s work.

While best know for his landscapes, French painter Camille Corot nonetheless left in his wake a considerable number of rarely exhibited yet highly sought figure paintings. And while Corot initially used these oil studies to improve the quality of his free composition for later historical and narrative landscapes, it was not long before his figure paintings became autonomous works, prized for their direct portrayal of emotional and spiritual states. Standing out in Corot's creative output is the remarkable oil painting A Girl Reading. This volume puts this impressive painting into context with a variety of Corot's paintings and drawings that both shed light on the role of reading that is characteristic of his work and provide the first representative overview of the artist's works inspired by the genre as a whole. Included are essays on Corot as a figure painter and thirty full-color, extensively annotated examples of his work.

Manet's well-known painting in the National Gallery, London, of a café-concert--a kind of cabaret performance that was the latest fashion in Paris of the 1870s--has a peculiar history. The painter initially planned an ambitious canvas with which he grew dissatisfied, then cut in two, one half being the painting in the National Gallery and the other half now in Winterthur in Switzerland. He repainted both fragments to make each a picture in its own right, but modern technology has discovered and reconstructed the original greater work. New research has also identified the café, the Reichshoffen, and even the Folies-Bergère performance that is advertised on a poster represented in the picture. This study of a pivotal work in the troubled painter's oeuvre reveals his pioneering genius and the modernity of his search to capture a distillation of life in his own time through disconcertingly direct brushstrokes. The book discusses and illustrates related drawings and other paintings on the same theme, which would culminate a mere three or four years later in the Bar in the Folies-Bergère. Without the experimentation, false paths and new discoveries of the Reichshoffen he would never have painted that masterpiece.