Andre Dombrowski – författare

A stunning exploration of the vital links between Claude Monet’s Impressionism and the time technologies that helped define modernity in the nineteenth century  Monet’s Minutes is a revelatory account charting the relationship between the works of Claude Monet (1840–1926)—founder of French Impressionism and one of the world’s best-known painters—and the modern experience of time. André Dombrowski illuminates Monet’s celebration of instantaneity in the context of the late nineteenth-century time technologies that underwrote it.  Monet’s version of Impressionism demonstrated an acute awareness of the particularly modern pressures of time, but until now scholars have not examined the histories and technologies of time and timekeeping that informed Impressionism’s major stylistic shifts. Arguing that the fascination with instantaneity rejected the dulling cultures of newly routinized and standardized time, Monet’s Minutes traces the evolution of Monet’s art to what were then seismic shifts in the shape of time itself.  In each chapter, Dombrowski focuses on the connections between a set of Monet’s works and a specific technology or experience of time, while providing the voices of period critics responding to Impressionism. Grounded in exceptional research and analyses, this book offers new interpretations of key paintings by Monet and a fresh perspective on late nineteenth-century art, society, and modern temporality.

"Is Paris Still the Capital of the Nineteenth Century?" The question that guides this volume stems from Walter Benjamin's studies of nineteenth-century Parisian culture as the apex of capitalist aesthetics. Thirteen scholars test Benjamin's ideas about the centrality of Paris, formulated in the 1930s, from a variety of methodological perspectives. Many investigate the underpinnings of the French capital's reputation and mythic force, which was based largely upon the city's capacity to put itself on display. Some of the authors reassess the famed centrality of Paris from the vantage point of our globalized twenty-first century by acknowledging its entanglements with South Africa, Turkey, Japan, and the United States. The volume equally studies a broader range of media than Benjamin did himself: from modernist painting and printmaking, photography, and illustration to urban planning. The essays conclude that Paris did in many ways function as the epicenter of modernity's international reach, especially in the years from 1850 to 1900, but did so only as a consequence of the idiosyncratic force of its mythic image. Above all, the essays affirm that the study of late nineteenth-century Paris still requires nimble and innovative approaches commensurate with its legend and global aura.

"Cezanne, Murder and Modern Life" offers an original approach to early French modernism, one informed by the art's unprecedented psychological intensity. Focusing on the early work of Paul Cezanne, it offers a competing version for modern painting rooted in the evocation of emotive "expression," emblematized by scenes of murder, sexual violence, and anxious domesticity. Mobilizing contexts rarely brought to bear on our understanding of art in the age of Impressionism, let alone the work of Cezanne, this book investigates the "culte du moi" and the conceptions of authorial function in art and literature, theories of neo-romanticism and early symbolism of the 1860s, as well as psycho-physiological analyses of the human mind and other positivist theories of modern sociality and instinctuality popularized during the Second Empire and early Third Republic.

The Barnes Foundation s holdings of works by the renowned Post-Impressionist Paul Cezanne (1839 1906) sixty-one oils on canvas and eight works on paper are among the most significant in the world. The Barnes Foundation was established in 1922 by scientist, entrepreneur, and educator Dr. Albert C. Barnes, a passionate supporter of European modernism. His virtually unrivalled collection, which can only be viewed at the Barnes Foundation, also includes exceptional paintings by Pierre-Auguste Renoir, Henri Matisse, Pablo Picasso, and many others. Beginning in 1912, Barnes acquired works by Cezanne from major Paris dealers such as Paul Durand-Ruel and soon ranked among the artist s most prominent collectors. At the time, this expressed a pioneering taste that Barnes shared with only a small group of enthusiasts, even though Cezanne had been posthumously hailed as a father of modern art at the turn of the twentieth century. The foundation s impressive holdings of Cezannes never before published in a single study in their entirety span every period of the artist s career and include his largest rendition of The Card Players and one of the three versions of The Large Bathers, one of his signal testaments. This lavishly illustrated landmark volume is both a work on Cezanne and his time, and an impetus for further study of an artist whose oeuvre is at once luminous, austere, challenging, and deeply confounding.

The 21st century's first major academic reassessment of Impressionism, providing a new generation of scholars with a comprehensive view of critical conversationsPresenting an expansive view of the study of Impressionism, this extraordinary volume breaks new thematic ground while also reconsidering established questions surrounding the definition, chronology, and membership of the Impressionist movement. In 34 original essays from established and emerging scholars, this collection considers a diverse range of developing topics and offers new critical approaches to the interpretation of Impressionist art.Focusing on the 1860s to 1890s, this Companion explores artists who are well-represented in Impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism's global predominance at the turn of the 20th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, and the movement's exhibition and reception history. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important new addition to scholarship in this field: Reevaluates the origins, chronology, and critical reception of French ImpressionismDiscusses Impressionism's account of modern identity in the contexts of race, nationality, gender, and sexualityExplores the global reach and influence of Impressionism in Europe, the Middle East, East Asia, North Africa, and the AmericasConsiders Impressionism's relationship to the emergence of film and photography in the 19th centuryConsiders Impressionism's representation of the private sphere as compared to its depictions of public issues such as empire, finance, and environmental changeAddresses the Impressionist market and clientele, period criticism, and exhibition displays from the late 19th century to the middle of the 20th centuryFeatures original essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and ArgentinaThe Wiley Blackwell Companion to Impressionism is an invaluable text for students and academics studying Impressionism and late 19th century European art, Post-Impressionism, modern art, and modern French cultural history.

The 21st century's first major academic reassessment of Impressionism, providing a new generation of scholars with a comprehensive view of critical conversationsPresenting an expansive view of the study of Impressionism, this extraordinary volume breaks new thematic ground while also reconsidering established questions surrounding the definition, chronology, and membership of the Impressionist movement. In 34 original essays from established and emerging scholars, this collection considers a diverse range of developing topics and offers new critical approaches to the interpretation of Impressionist art.Focusing on the 1860s to 1890s, this Companion explores artists who are well-represented in Impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism's global predominance at the turn of the 20th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, and the movement's exhibition and reception history. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important new addition to scholarship in this field: Reevaluates the origins, chronology, and critical reception of French ImpressionismDiscusses Impressionism's account of modern identity in the contexts of race, nationality, gender, and sexualityExplores the global reach and influence of Impressionism in Europe, the Middle East, East Asia, North Africa, and the AmericasConsiders Impressionism's relationship to the emergence of film and photography in the 19th centuryConsiders Impressionism's representation of the private sphere as compared to its depictions of public issues such as empire, finance, and environmental changeAddresses the Impressionist market and clientele, period criticism, and exhibition displays from the late 19th century to the middle of the 20th centuryFeatures original essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and ArgentinaThe Wiley Blackwell Companion to Impressionism is an invaluable text for students and academics studying Impressionism and late 19th century European art, Post-Impressionism, modern art, and modern French cultural history.

"Is Paris Still the Capital of the Nineteenth Century?" The question that guides this volume stems from Walter Benjamin's studies of nineteenth-century Parisian culture as the apex of capitalist aesthetics. Thirteen scholars test Benjamin's ideas about the centrality of Paris, formulated in the 1930s, from a variety of methodological perspectives. Many investigate the underpinnings of the French capital's reputation and mythic force, which was based largely upon the city's capacity to put itself on display. Some of the authors reassess the famed centrality of Paris from the vantage point of our globalized twenty-first century by acknowledging its entanglements with South Africa, Turkey, Japan, and the United States. The volume equally studies a broader range of media than Benjamin did himself: from modernist painting and printmaking, photography, and illustration to urban planning. The essays conclude that Paris did in many ways function as the epicenter of modernity's international reach, especially in the years from 1850 to 1900, but did so only as a consequence of the idiosyncratic force of its mythic image. Above all, the essays affirm that the study of late nineteenth-century Paris still requires nimble and innovative approaches commensurate with its legend and global aura.