Frances Fowle – författare

The Impressionists are world renowned for their vibrant depictions of the atmospheric effects and shimmering beauty of the French countryside. These paintings, often produced in Paris, found an enthusiastic market in the city. The inhabitants of that hub of modernity had an apparently paradoxical interest in the mythologies of rural living. As the city became more and more the motive force of social change so the country was understood as the anchor of changelessness and nostalgia. The essayists in this volume examine the complex relationship between country and city. Their work draws widely on the contemporary culture exploring folklore and children's literature, anarchism and urbanism, and offers significant new insights into the work of major artists and writers including Courbet, Millet, Monet, Van Gogh and Zola.

This four-volume collection of primary sources examines art in Scotland during the nineteenth century. During the nineteenth century, Scotland developed as a powerful industrial nation, eventually leading the world in areas such as textiles, shipbuilding and iron and steel production. As a result, a new generation of businessmen began to take an interest in buying art, as a symbol of their new-found wealth and status. The same period saw the establishment of art institutes and artists’ societies in major centres such as Glasgow and Edinburgh, providing artists not only with opportunities to exhibit their work, but also to see the work of European artists. This period saw the transformation of Scottish art from a period when visual culture was dominated by a retrogressive, romanticised image of the nation, to the modern era, when Scotland’s artists travelled abroad and embraced the latest avant-garde ideas, eventually enjoying an international reputation. Accompanied by extensive editorial commentary, this collection will be of great interest to students of Art History and Scottish History.

This volume examines the emergence of a market for Scottish art among Scotland’s wealthy industrialists in the mid-nineteenth century and in the period leading up to the First World War. As well as considering key mercantile collectors such as James Guthrie Orchar and James Keiller in Dundee, James Duncan in Greenock, John Forbes White in Aberdeen and Sir William Burrell and William McInnes in Glasgow, it focuses on major art dealers such as Alexander Reid, who gave the artists Joseph Crawhall, George Henry and E.A. Hornel their first solo exhibitions. In Edinburgh Scottish artists were supported initially by Alexander Hill and later by Peter McOmish Dott at the Scottish Gallery, who supported the Scottish Colourists in the early 20th century. Accompanied by extensive editorial commentary, this collection will be of great interest to students of Art History and Scottish History.

This volume examines the emergence of a market for Scottish art among Scotland's wealthy industrialists in the mid-nineteenth century and in the period leading up to the First World War. As well as considering key mercantile collectors such as James Guthrie Orchar and James Keiller in Dundee, James Duncan in Greenock, John Forbes White in Aberdeen and Sir William Burrell and William McInnes in Glasgow, it focuses on major art dealers such as Alexander Reid, who gave the artists Joseph Crawhall, George Henry and E.A. Hornel their first solo exhibitions. In Edinburgh Scottish artists were supported initially by Alexander Hill and later by Peter McOmish Dott at the Scottish Gallery, who supported the Scottish Colourists in the early 20th century. Accompanied by extensive editorial commentary, this collection will be of great interest to students of Art History and Scottish History.

This volume examines the emergence of a market for Scottish art among Scotland's wealthy industrialists in the mid-nineteenth century and in the period leading up to the First World War. As well as considering key mercantile collectors such as James Guthrie Orchar and James Keiller in Dundee, James Duncan in Greenock, John Forbes White in Aberdeen and Sir William Burrell and William McInnes in Glasgow, it focuses on major art dealers such as Alexander Reid, who gave the artists Joseph Crawhall, George Henry and E.A. Hornel their first solo exhibitions. In Edinburgh Scottish artists were supported initially by Alexander Hill and later by Peter McOmish Dott at the Scottish Gallery, who supported the Scottish Colourists in the early 20th century. Accompanied by extensive editorial commentary, this collection will be of great interest to students of Art History and Scottish History.

The Impressionists are world renowned for their vibrant depictions of the atmospheric effects and shimmering beauty of the French countryside. These paintings, often produced in Paris, found an enthusiastic market in the city. The inhabitants of that hub of modernity had an apparently paradoxical interest in the mythologies of rural living. As the city became more and more the motive force of social change so the country was understood as the anchor of changelessness and nostalgia. The essayists in this volume examine the complex relationship between country and city. Their work draws widely on the contemporary culture exploring folklore and children's literature, anarchism and urbanism, and offers significant new insights into the work of major artists and writers including Courbet, Millet, Monet, Van Gogh and Zola.

This book considers how art market stakeholders, including art dealers, collectors and agents, have shaped museum collections and affected exhibition practices since the mid-nineteenth century. Based on new archival research and data analysis, it explores the role of dealers not only in selling directly to museums, but in influencing museum collecting priorities, as well as potential donors. It also examines the important but hitherto overlooked contribution of the female curator-agent.The book is divided into three sections, which address the relationship between art dealers and museums, women as art agents and influencers, and the strategies of entrepreneurial collectors. Featuring contributions from a wide range of international specialists in the market for decorative arts and antiquities, as well as European modernism, The Art Market and the Museum explores the origins and development of the modern Western art market and the global art networks that operated not only in Paris, London and New York, but in cities such as Glasgow, Vienna, Melbourne and Kansas City. It is perfect reading for scholars and researchers on the history of the art market, museum studies and art history more broadly.

This book considers how art market stakeholders, including art dealers, collectors and agents, have shaped museum collections and affected exhibition practices since the mid-nineteenth century. Based on new archival research and data analysis, it explores the role of dealers not only in selling directly to museums, but in influencing museum collecting priorities, as well as potential donors. It also examines the important but hitherto overlooked contribution of the female curator-agent.The book is divided into three sections, which address the relationship between art dealers and museums, women as art agents and influencers, and the strategies of entrepreneurial collectors. Featuring contributions from a wide range of international specialists in the market for decorative arts and antiquities, as well as European modernism, The Art Market and the Museum explores the origins and development of the modern Western art market and the global art networks that operated not only in Paris, London and New York, but in cities such as Glasgow, Vienna, Melbourne and Kansas City. It is perfect reading for scholars and researchers on the history of the art market, museum studies and art history more broadly.

This book considers how art market stakeholders, including art dealers, collectors and agents, have shaped museum collections and affected exhibition practices since the mid-nineteenth century. Based on new archival research and data analysis, it explores the role of dealers not only in selling directly to museums, but in influencing museum collecting priorities, as well as potential donors. It also examines the important but hitherto overlooked contribution of the female curator-agent.The book is divided into three sections, which address the relationship between art dealers and museums, women as art agents and influencers, and the strategies of entrepreneurial collectors. Featuring contributions from a wide range of international specialists in the market for decorative arts and antiquities, as well as European modernism, The Art Market and the Museum explores the origins and development of the modern Western art market and the global art networks that operated not only in Paris, London and New York, but in cities such as Glasgow, Vienna, Melbourne and Kansas City. It is perfect reading for scholars and researchers on the history of the art market, museum studies and art history more broadly.

In their day the French Impressionists were met with criticism and even disbelief, yet today their paintings are admired and collected worldwide. The leading members of the group included Edgar Degas, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir and Alfred Sisley, who dedicated themselves to working in oil paints out of doors, to capturing the transient effects of light and weather and depicting the society in which they lived. These artists challenged the traditions of the French Academy, bringing about a revolution in art during a period of enormous political and social change.Historical Dictionary of Impressionism contains a chronology, an introduction, and an extensive bibliography, as well as practical information on the eight Impressionist exhibitions. The dictionary section comprises cross-referenced entries on the French Impressionists, the locations they worked in (both in France and further afield), their predecessors and followers, and their models, critics and dealers. It also contains useful entries on key political events and figures, as well as the places of entertainment that sprang up all over Paris in the ‘belle époque’. This book is designed to appeal to students, researchers and the general reader.

In their day the French Impressionists were met with criticism and even disbelief, yet today their paintings are admired and collected worldwide. The leading members of the group included Edgar Degas, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir and Alfred Sisley, who dedicated themselves to working in oil paints out of doors, to capturing the transient effects of light and weather and depicting the society in which they lived. These artists challenged the traditions of the French Academy, bringing about a revolution in art during a period of enormous political and social change.Historical Dictionary of Impressionism contains a chronology, an introduction, and an extensive bibliography, as well as practical information on the eight Impressionist exhibitions. The dictionary section comprises cross-referenced entries on the French Impressionists, the locations they worked in (both in France and further afield), their predecessors and followers, and their models, critics and dealers. It also contains useful entries on key political events and figures, as well as the places of entertainment that sprang up all over Paris in the 'belle epoque'. This book is designed to appeal to students, researchers and the general reader.

Known today for his atmospheric views of the river Oise, Charles François Daubigny was a pioneer of modern landscape painting and an important precursor of French Impressionism. Although commercially highly successful he was often criticised for his broad, sketch-like handling and unembellished view of nature, and was dubbed the leader of 'the school of the impression'. As a result he drew the attention of the next generation of artists, among them Claude Monet and Vincent van Gogh, who were inspired by Daubigny's frank naturalism, bold compositions and technical innovations. Theirs was an artistic dialogue which spanned thirty years, from the early 1860s to the end of Van Gogh's short life.

This book offers a beautiful exploration of Henri de Toulouse-Lautrec's works in lithography. It explores the new artistic approach to the poster at the end of the 19th century, which bridged visual and popular culture and turned the relationship between 'high' and 'low' art on its head. Technical innovations in lithography pioneered by Lautrec and other artists produced larger sizes, more varied colours and new effects and launched the role of the poster as a powerful tool for communication and marketing in fin de siècle Paris. Lautrec's embrace of celebrity helped to define the famous hotspots (theatres, cabarets and café-concerts) of fin de siècle Paris and made their stars recognisable figures across the whole city. Works by contemporaries such as Pierre Bonnard, Théophile Alexandre Steinlen and Jules Chéret also feature, and Lautrec's influence on British, and particularly Scottish, artists of the period will be explored. These include Walter Richard Sickert, Arthur Melville, John Duncan Fergusson and William Nicholson.

A vibrant, colourful and beautiful book that introduces readers to Impressionism and Post-Impressionism. It explains the difference between the two movements and the main artists associated with each. Illustrations are drawn from the renowned and outstanding collection of French art held by the National Galleries of Scotland and they include a number of rarely seen works.This book tells the fascinating stories of how key paintings and drawings found their way into the collection.Artists include Monet, Millet, Gauguin, Bastien-Lepage, Charles Jacque, Troyon, Corot, Degas, Seurat, Van Gogh, Cézanne, Vuillard, Bonnard, Derain, Matisse, Legros and Rodin.

“The Technical Notes by Lesley Stevenson provide extensive, thoroughly researched information on the paintings… this has brought fascinating new information to light” — Journal of the Scottish Society for Art History, Volume 29, 2024-2025, p.128The Scottish National Gallery’s outstanding collection of French paintings is described fully in this two-volume illustrated catalogue. Underpinned by extensive scholarly research, this comprehensive work includes many of the great names, including Monet, Degas, Cézanne, Poussin, Watteau and Delacroix.Since opening its doors in 1859, the Scottish National Gallery’s collection of French paintings has grown continuously, reflecting changing tastes and priorities, thanks to inspired and enlightened purchases and many generous donations. The collection’s fascinating history is related in the introductory essay.Each artist is introduced by a concise biography, followed by a study of their individual works featuring the most up-to-date research. Illustrating and describing 189 works of art, this catalogue is the definitive authority on the French paintings in Scotland’s national collection.

The first collection of Monet’s paintings of the Thames exhibited in London since 1904  This beautiful volume accompanies a major exhibition at The Courtauld Gallery that reunites for the first time in 120 years an extraordinary group of Claude Monet’s Impressionist paintings of London. The exhibition realizes the artist’s unfulfilled ambition of showing the group on the banks of the Thames, just a stone’s throw from where many of them were created.  Monet (1840–1926) is world renowned as the leading figure of French Impressionism, but many forget that some of Monet’s most remarkable Impressionist paintings were made not in France but in London. They depict extraordinary views of the Thames as it had never been seen before, full of mysterious light and radiant colors. Captured over three stays in the capital between 1899 and 1901, the series—depicting Charing Cross Bridge, Waterloo Bridge, and the Houses of Parliament—was unveiled at a landmark exhibition in Paris in 1904. Monet fervently wanted to show them in London the following year, but plans fell through. Until now, they have never been the subject of an exhibition in the UK.  Monet and London: Views of the Thames realizes Monet’s ambition of showing this extraordinary group of paintings in London. By presenting the paintings Monet himself selected in 1904, it provides visitors with the unique experience of seeing the show Monet curated and the works he felt best represented his ambitious artistic enterprise, brought together more than a century after their inaugural exhibition. The catalogue is richly illustrated and includes twenty-one entries and four original essays that shed new light on this famous series.