André Dombrowski is the Frances Shapiro-Weitzenhoffer Associate Professor of 19th Century European Art at the University of Pennsylvania. He is the author of Cézanne, Murder, and Modern Life, winner of the Phillips Book Prize.

“Monet’s Minutes is unrelievedly and impressively original. It should be hailed as a milestone in both Monet and Impressionist studies, and it will be admired as a new form of ‘contextualist’ art history, not to mention histories of urban modernity. Even for non-art historians, Dombrowski’s discussions will be consumed with gusto and admiration.”—Hollis Clayson, Northwestern University“This is a genuinely important and original study. While easily being the most perceptive recent monograph on Monet’s art, it also makes a very significant contribution to understandings of Impressionism and of late nineteenth-century art more generally. Particularly valuable are the new insights it offers into the impact that changing conceptions and measures of time had on the distinctive temporalities shaping Impressionist art and early critical responses to it.”—Alex Potts, University of Michigan

André Dombrowski is the Frances Shapiro-Weitzenhoffer Associate Professor of 19th Century European Art at the University of Pennsylvania. He is the author of Cézanne, Murder, and Modern Life, winner of the Phillips Book Prize.

“Monet’s Minutes is unrelievedly and impressively original. It should be hailed as a milestone in both Monet and Impressionist studies, and it will be admired as a new form of ‘contextualist’ art history, not to mention histories of urban modernity. Even for non-art historians, Dombrowski’s discussions will be consumed with gusto and admiration.”—Hollis Clayson, Northwestern University“This is a genuinely important and original study. While easily being the most perceptive recent monograph on Monet’s art, it also makes a very significant contribution to understandings of Impressionism and of late nineteenth-century art more generally. Particularly valuable are the new insights it offers into the impact that changing conceptions and measures of time had on the distinctive temporalities shaping Impressionist art and early critical responses to it.”—Alex Potts, University of Michigan