MARC Record from marc_columbia

LEADER: 03838cam a2200361 a 4500
001 5417517
005 20221110033305.0
008 041213s2005 nyua e 000 0 eng
015 $aGBA520930$2bnb
016 7 $a013130114$2Uk
020 $a0870701843 (hbk.)
035 $a(OCoLC)ocm58454839
035 $a(NNC)5417517
035 $a5417517
040 $aUKM$cUKM$dNNC$dOrLoB-B
043 $ae-fr---
082 04 $a759.4$222
100 1 $aPissarro, Joachim.$0http://id.loc.gov/authorities/names/n90616142
245 10 $aPioneering modern painting :$bCézanne & Pissarro 1865-1885 /$cJoachim Pissarro.
246 10 $aPioneering modern painting, Cézanne & Pissarro 1865-1885
260 $aNew York :$bMuseum of Modern Art ;$aLondon :$bThames & Hudson [distributor],$c2005.
300 $a256 pages :$billustrations (some color) ;$c31 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
505 00 $tPioneering modern painting -- $tStill modern? -- $tOrigins : two foreigners - the formation of a new language in painting -- $tDialogues in word and paint -- $tReviewing the past and facing the end -- $tImpressionism, post-impressionism : it's all modern painting -- $tPlates -- $t"Setting the Louvre on fire" : radical technique and ideology in early works -- $tReciprocal gazes : portraits and self-portraits -- $tPortraits on paper : drawings -- $tLouveciennes/Louveciennes : "to each his own sensation" -- $tStill lifes of the 1870s : a classic genre "improperly" painted -- $tBuilding with paint : houses and village streets in Auvers-sur-Oise and Pontoise -- $tA turning road : experiments with composition and the palette knife in 1875 -- $tSeparate paths through a shared landscape : the late 1870s and the third impressionist exhibition -- $tContrasts in pure colors : L'Estaque and Pontoise -- $tA backward glance : Cezanne reconsiders Pissarro's early work -- $tSalut and farewell : a final interaction.
520 1 $a"Few artists have had a personal and professional relationship as intense and long-lasting as Camille Pissarro (1830-1903) and Paul Cezanne (1839-1906). After meeting at art school in Paris in the 1860s, they quickly established a friendship that lasted almost a quarter of a century. This led to one of the most fascinating artistic exchanges of the nineteenth century." "Joachim Pissarro's text invites readers to question the relevance of conventional art-historical labels used to define each artist's position in the pantheon of art history: Camille Pissarro as the arch-Impressionist, and Paul Cezanne as the pioneering Post-Impressionist. His essay stresses the multifarious artistic dialogue developed by these artists and explores the ideological and artistic concepts that bind their careers from beginning to end. What mattered for each of them was the ability to see new possibilities for expressing his "sensations" in front of nature, whether through novel painting techniques that they explored together or through dialogues with each other and with art critics." "This book is published to accompany the first exhibition of the work of Cezanne and Pissarro at The Museum of Modern Art, New York, in the summer of 2005. The more than one hundred paintings and drawings illustrated in this book focus on comparisons between the two artists' work, and the juxtapositions are truly revelatory."--BOOK JACKET.
600 10 $aCézanne, Paul,$d1839-1906$vExhibitions.
600 10 $aPissarro, Camille,$d1830-1903$vExhibitions.
650 0 $aModernism (Art)$zFrance$vExhibitions.
650 0 $aImpressionism (Art)$zFrance$vExhibitions.$0http://id.loc.gov/authorities/subjects/sh2008104319
650 0 $aPainting, French$y19th century$vExhibitions.$0http://id.loc.gov/authorities/subjects/sh2008108817
852 80 $bfax$hND553 C33$iP67
852 00 $bbar$hND552$i.P57 2005g