Cezanne and the End of Impressionism

Cezanne and the End of Impressionism

Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cézanne's painting.

Author: Richard Shiff

Publisher: University of Chicago Press

ISBN: 9780226237770

Category: Art

Page: 336

View: 794

Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cézanne's painting. He shows how Cézanne's style met the emerging criteria of a "technique of originality" and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cézanne and his critics, Shiff considers the problem of modern art in general. He locates the core of modernism in a dialectic of making (technique) and finding (originality). Ultimately, Shiff provides not only clarifying accounts of impressionism and symbolism but of a modern classicism as well.
Categories: Art

Critical Readings in Impressionism and Post Impressionism

Critical Readings in Impressionism and Post Impressionism

this is a qualification made by the majority of Cézanne's critics , both for and against , who hesi- tate to say that the artist intended the results attributed to him ( cf. the remarks on Roger Fry in Shiff , Cézanne and the End of ...

Author: Mary Tompkins Lewis

Publisher:

ISBN: 0520240103

Category: Art

Page: 370

View: 168

The essays in this wide-ranging text capture the theoretical range and scholarly rigor of criticism that has fundamentally transformed the study of French Impressionist and Post-Impressionist art.
Categories: Art

Impressionism

Impressionism

Cézanne and the end of impressionism : a study of the theory , technique , and critical evaluation of modern art / Richard Shiff . Published / Created : Chicago : University of Chicago Press , c1984 . Description : xviii , 318 p .

Author: John I. Clancy

Publisher: Nova Publishers

ISBN: 1590335457

Category: Reference

Page: 242

View: 616

Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wide array of styles. Nonetheless, it remains a very important school in the annals of art. Any current or budding art aficionado should become familiar with the impressionist movement and its impact on the art world. This book presents a sweeping study of this artistic period, from its origins to its manifestations in the works of some of art history's most revered painters. Following this overview is a substantial and selective bibliography, featuring access through author, title, and subject indexes.
Categories: Reference

Doubt

Doubt

Shiff’s turn to doubt is not a retreat to relativism, but rather an insistence on clear thinking about art. In particular, Shiff takes issue with the style of self-referential art writing seemingly 'licensed' by Roland Barthes.

Author: Richard Shiff

Publisher: Routledge

ISBN: 9781135872212

Category: Art

Page: 193

View: 900

In an age where art history’s questions are now expected to receive answers, Richard Shiff presents a challenging alternative. In this essential new addition to James Elkins’s series Theories of Modernism and Postmodernism in the Visual Arts, Richard Shiff embraces doubt as a critical tool and asks how particular histories of art have come to be. Shiff’s turn to doubt is not a retreat to relativism, but rather an insistence on clear thinking about art. In particular, Shiff takes issue with the style of self-referential art writing seemingly 'licensed' by Roland Barthes. With an introduction by Rosie Bennett, Doubt is a study of the tension between practicing art and practicing criticism.
Categories: Art

PAINTING OUTSIDE THE LINES

PAINTING OUTSIDE THE LINES

Fry, Cézanne, p. 3. 15. Schapiro, Paul Cézanne, p. 10. 16. Bowness, Modern European Art, p. 37. 17. Quoted in Bois, Painting as Model, pp. 49, 276. 18. Shiff, Cézanne and the End of Impressionism, pp. 130, 181; Brion-Guerry, ...

Author: David W. Galenson

Publisher: Harvard University Press

ISBN: 9780674037472

Category: Art

Page: 272

View: 743

In a work that brings new insights, and new dimensions, to the history of modern art, David Galenson examines the careers of more than 100 modern painters to disclose a fascinating relationship between age and artistic creativity.
Categories: Art

The Art of Impressionism

The Art of Impressionism

... Paris, 1950 Shiff, R., Cezanne and the End of impressionism: i Study of the Theory. Technique and Critical Evalution of Modern Art, Chicago, 1084 Shiff, R, Impressionist Criticism. Impressionist Color and Cezanne, Ann Arbor.

Author: Anthea Callen

Publisher: Yale University Press

ISBN: 9780300084023

Category: Art

Page: 270

View: 967

"Drawing on scientific studies of pigments and materials, artists' treatises, colourmen's archives, and contemporary and modern accounts, Anthea Callen demonstrates how raw materials and paintings are profoundly interdependent. She analyses the material constituents of oil painting and the complex processes of 'making' entailed in all aspects of artistic production, discussing in particular oil painting methods for landscapists and the impact of plein air light on figure painting, studio practice and display. Insisting that the meanings of paintings are constituted by and within the cultural matrices that produced them, Callen argues that the real 'modernity' of the Impressionist enterprise lies in the painters' material practices."--BOOK JACKET.
Categories: Art

Georges Rouault and Material Imagining

Georges Rouault and Material Imagining

26 Geffroy, 'Paul Cézanne ' (1894), La Vie artistique, & Georges Lecomte, 'Paul Cézanne ', L'Art impressioniste, p. 31 cited in Richard Shiff, Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical ...

Author: Jennifer Johnson

Publisher: Bloomsbury Publishing USA

ISBN: 9781501346118

Category: Art

Page: 216

View: 316

Described as a difficult and dark painter, Georges Rouault's oeuvre is deeply experimental. Images of the circus emerge from a plethora of chaotic marks, while numerous landscapes appear as if ossified in thick paint. Georges Rouault and Material Imagining approaches Rouault in relation to contemporary theories about making and material, examining how he constructs a 'material consciousness' that departs from other modern painters. Rouault's work explodes the genre of painting, drawing upon the residue of Gustave Moreau's symbolism, the extremities of Fauvism, and the radical theatrical experiments of Alfred Jarry. The repetitions and re-workings at the heart of Rouault's process defy conventional chronological treatment, and place the emphasis upon the coming-into-being of the work of art. Ultimately, the process of making is revealed as both a search for understanding and a response to the problematic world of the twentieth century. Georges Rouault and Material Imagining therefore offers an innovative critical approach to the various questions raised by this difficult modernist.
Categories: Art

Paul C zanne

Paul C  zanne

Joel Isaacson, 'Constable, Duranty, Mallarmé, Impressionism, Plein Air, and Forgetting', Art Bulletin, lxxvi/3 (1994), p. 439. Richard Shiff, Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical ...

Author: Jon Kear

Publisher: Reaktion Books

ISBN: 9781780236032

Category: Biography & Autobiography

Page: 224

View: 362

Few artists have exerted as much influence on modern art as Paul Cézanne. Picasso, Braque, and Matisse all acknowledged a profound debt to his painting, and many historians regard him as the father of modernism. This new biography reexamines Cézanne’s life and art, discussing the key events and people who shaped his work and placing his oeuvre in the context of nineteenth and early twentieth-century art and culture. Jon Kear begins with Cézanne’s formative years in Provence, highlighting the deep and abiding impressions the landscapes of the region would have on his paintings. He follows him through his turbulent years as a young artist in Paris, where he would create the larger-than-life artistic persona—through a rugged painting style detailing explicit subjects—that would become a lasting mythology for him throughout all of his phases. He looks closely at Cézanne’s relationships with Edouard Manet—whom he both emulated and critiqued—and the writer Émile Zola, as well as his close collaboration with Camille Pissarro. Above all, he tells the story of his life as a part of the pivotal shift toward the twentieth century, illuminating how much his work and ideas helped to usher it in.
Categories: Biography & Autobiography

Totality

Totality

See Richard Shiff, Cézanne and the End of Impressionism (Chicago: University of Chicago Press, 1984), and “The End of Impressionism,” in The New Painting: Impressionism 1874–1886, ed. C. Moffett (San Francisco: Fine Arts Museums of San ...

Author: Michael Schreyach

Publisher: Univ of California Press

ISBN: 9780520379510

Category: Abstract expressionism

Page: 293

View: 701

An original and ambitious approach to understanding the creative achievements of one of the most important American artists of the twentieth century. Totality offers a deeply researched and thoughtful account of the art of Barnett Newman (1905-1970). While Newman's paintings are widely regarded as among the most significant statements of abstract expressionism--and emblematic of modernism at midcentury--they pose distinct challenges to formal description and historical evaluation. With this book, Michael Schreyach guides readers toward a transformed understanding of Newman's profound body of work. Through a sequence of close readings, Schreyach examines six key terms--symbol, surface, self-evidence, space, standpoint, and scale--that illuminate the meaning of Newman's claims for the "metaphysical" content of his art. Totality progresses from the meticulous analysis of the technical structure and visual appearance of specific works to critical and archivally documented arguments about Newman's intentions. The result is an altogether original interpretation of the artist's enterprise, as surprising as it is nuanced.
Categories: Abstract expressionism