André Dombrowski is Frances Shapiro-Weitzenhoffer Associate Professor of 19th-Century European Art at the University of Pennsylvania, USA. He specializes in the arts and material culture of France and Germany in the late 19th century. He is the author of Cézanne, Murder, and Modern Life, and numerous essays on Manet, Monet, Pissarro, and Degas, among other artists.

• List of Figures ixAbout the Editor xivNotes on Contributors xvSeries Editor’s Preface xxiiiAcknowledgments xxvIntroduction 1André DombrowskiPart I What Was Impressionism? What Is an Impression? Definitions and New Directions 91 Impressionism and Criticism 11Marnin Young2 Rethinking the Origins of Impressionism: The Case of Claude Monet and Corner of a Studio 27Mary-Dailey Desmarais3 Monet in the 1880s: The Motif in Crisis 43Marc Gotlieb4 As a Glass Eye: Manet’s Flower Paintings 61Briony Fer5 Figuring Perception: Monet’s Leap into Plein Air, 1866–1867 75Michael Marrinan6 Pater, Impressionism, and the Undoing of Sense 93Jeremy Melius7 The Impressionist Mind: Modern Painting and Nineteenth-Century Readerships 107Ségolène Le MenPart II Painting as Object: Tools, Materials, and Close Looking 1278 Impression, Improvisation, and Premeditation: New Insights into the Working Methods and Creative Process of Claude Monet 129Gloria Groom and Kimberley Muir9 Piquer, Plaquer: Cézanne, Pissarro, and Palette-Knife Painting 146Nancy Locke10 John Singer Sargent’s Lady with a Blue Veil and the Matter of Paint 162Susan SidlauskasPart III New Visual Media and the Other Arts 18111 Painting Photographing Ballooning: At the Boulevard des Capucines 183Carol M. Armstrong12 Series and Screens: Seeing Monet’s Cathedrals through the Lens of the Cinematograph 201Marine Kisiel13 Critical Impressionism: A Painting by Mary Cassatt and Its Challenge to the Social Rules of Art 219Anne Higonnet14 James McNeill Whistler: Veiling the Everyday 234Caroline ArscottPart IV Impressionism and Identity 25115 Cassatt’s Alterity 253Hollis Clayson16 Bazille, Degas, and Modern Black Paris 271[Excerpt from Posing Modernity: The Black Model from Manet and Matisse to Today, Yale University Press, pp. 70–83, with a new preface. Reprinted with permission from Yale University Press]Denise Murrell17 Expert Hands, Infectious Touch: Painting and Pregnancy in Morisot’s The Mother and Sister of the Artist 287Mary Hunter18 Painting the Prototype: The (Homo)Sexuality of Bazille’s Summer Scene 304Jonathan D. Katz, with André DombrowskiPart V Public and Private 32319 Revival and Risk: Renoir, Fragonard, and the Epistolary Theme 325Nina L. Dubin20 “The Little Dwarf and the Giant Lady:” At Home with Gustave Caillebotte 343Felix Krämer21 Renoir, Impressionism, and the Value of Touch 357Martha Lucy22 Morisot’s Urbane Ecologies 375Alison Syme23 Incorporating Impressionism: The Société anonyme and the First Impressionist Exhibition in 1874 393André DombrowskiPart VI World Impressionism 41524 “Plume Mania:” Degas, Feathers, and the Global Millinery Trade 417Simon Kelly25 Home and Alienation in the Colonies: Auguste Renoir in Algiers, Jean Renoir in India 435Todd Porterfield26 Impressionism in Japan: The Awakening of the Senses 452Takanori Nagaï27 Impressionism in Argentina: A Historiographical Discussion 466Laura Malosetti Costa28 Turkish Impressionism: Interplays of Culture and Form 484Ahu Antmen29 Impressionism and Naturalism in Germany: The Competing Aesthetic and Ideological Imperatives of a Modern Art 499Alex PottsPart VII Criticism, Displays, and Markets 51730 Degenerate Art: Impressionism and the Specter of Crisis in French Painting 519Neil McWilliam31 Impressionism through the Prism of New Methods: A Social and Cartographic Study of Monet’s Address Book 533Félicie Faizand de Maupeou32 Against the Grain: Gustave Caillebotte and Paul Durand-Ruel’s Impressionism 547Mary Morton33 Are Museum Curators “Very Special Clients?” Impressionism, the Art Market, and Museums (Paul Durand-Ruel and the Musée du Luxembourg at the Turn of the Twentieth Century) 566Sylvie Patry34 The Museum of Impressionism, 1947 583Martha WardIndex 601

André Dombrowski is Frances Shapiro-Weitzenhoffer Associate Professor of 19th-Century European Art at the University of Pennsylvania, USA. He specializes in the arts and material culture of France and Germany in the late 19th century. He is the author of Cézanne, Murder, and Modern Life, and numerous essays on Manet, Monet, Pissarro, and Degas, among other artists.

• List of Figures ixAbout the Editor xivNotes on Contributors xvSeries Editor’s Preface xxiiiAcknowledgments xxvIntroduction 1André DombrowskiPart I What Was Impressionism? What Is an Impression? Definitions and New Directions 91 Impressionism and Criticism 11Marnin Young2 Rethinking the Origins of Impressionism: The Case of Claude Monet and Corner of a Studio 27Mary-Dailey Desmarais3 Monet in the 1880s: The Motif in Crisis 43Marc Gotlieb4 As a Glass Eye: Manet’s Flower Paintings 61Briony Fer5 Figuring Perception: Monet’s Leap into Plein Air, 1866–1867 75Michael Marrinan6 Pater, Impressionism, and the Undoing of Sense 93Jeremy Melius7 The Impressionist Mind: Modern Painting and Nineteenth-Century Readerships 107Ségolène Le MenPart II Painting as Object: Tools, Materials, and Close Looking 1278 Impression, Improvisation, and Premeditation: New Insights into the Working Methods and Creative Process of Claude Monet 129Gloria Groom and Kimberley Muir9 Piquer, Plaquer: Cézanne, Pissarro, and Palette-Knife Painting 146Nancy Locke10 John Singer Sargent’s Lady with a Blue Veil and the Matter of Paint 162Susan SidlauskasPart III New Visual Media and the Other Arts 18111 Painting Photographing Ballooning: At the Boulevard des Capucines 183Carol M. Armstrong12 Series and Screens: Seeing Monet’s Cathedrals through the Lens of the Cinematograph 201Marine Kisiel13 Critical Impressionism: A Painting by Mary Cassatt and Its Challenge to the Social Rules of Art 219Anne Higonnet14 James McNeill Whistler: Veiling the Everyday 234Caroline ArscottPart IV Impressionism and Identity 25115 Cassatt’s Alterity 253Hollis Clayson16 Bazille, Degas, and Modern Black Paris 271[Excerpt from Posing Modernity: The Black Model from Manet and Matisse to Today, Yale University Press, pp. 70–83, with a new preface. Reprinted with permission from Yale University Press]Denise Murrell17 Expert Hands, Infectious Touch: Painting and Pregnancy in Morisot’s The Mother and Sister of the Artist 287Mary Hunter18 Painting the Prototype: The (Homo)Sexuality of Bazille’s Summer Scene 304Jonathan D. Katz, with André DombrowskiPart V Public and Private 32319 Revival and Risk: Renoir, Fragonard, and the Epistolary Theme 325Nina L. Dubin20 “The Little Dwarf and the Giant Lady:” At Home with Gustave Caillebotte 343Felix Krämer21 Renoir, Impressionism, and the Value of Touch 357Martha Lucy22 Morisot’s Urbane Ecologies 375Alison Syme23 Incorporating Impressionism: The Société anonyme and the First Impressionist Exhibition in 1874 393André DombrowskiPart VI World Impressionism 41524 “Plume Mania:” Degas, Feathers, and the Global Millinery Trade 417Simon Kelly25 Home and Alienation in the Colonies: Auguste Renoir in Algiers, Jean Renoir in India 435Todd Porterfield26 Impressionism in Japan: The Awakening of the Senses 452Takanori Nagaï27 Impressionism in Argentina: A Historiographical Discussion 466Laura Malosetti Costa28 Turkish Impressionism: Interplays of Culture and Form 484Ahu Antmen29 Impressionism and Naturalism in Germany: The Competing Aesthetic and Ideological Imperatives of a Modern Art 499Alex PottsPart VII Criticism, Displays, and Markets 51730 Degenerate Art: Impressionism and the Specter of Crisis in French Painting 519Neil McWilliam31 Impressionism through the Prism of New Methods: A Social and Cartographic Study of Monet’s Address Book 533Félicie Faizand de Maupeou32 Against the Grain: Gustave Caillebotte and Paul Durand-Ruel’s Impressionism 547Mary Morton33 Are Museum Curators “Very Special Clients?” Impressionism, the Art Market, and Museums (Paul Durand-Ruel and the Musée du Luxembourg at the Turn of the Twentieth Century) 566Sylvie Patry34 The Museum of Impressionism, 1947 583Martha WardIndex 601