Search results for ""Author Emily A. Beeny""

The Museum of Fine Arts, Boston houses a world-famous collection of European painting and sculpture, including such masterpieces as Renoir’s Dance at Bougival, Gauguin’s Where Do We Come From? What Are We? Where Are We Going?, Degas’s Little Dancer, Turner’s Slave Ship and the largest collection of paintings by Claude Monet outside of France. This overview features these well-known and much-loved works, divided into thematic chapters that represent major art movements, with an introduction that describes the phenomena that helped chart the course of art in the period. In all more than 100 highlights from this impressive collection are illustrated and discussed, each testifying to the richness and complexity of European art in the modern era. The MFA Highlights series presents the best of the Museum of Fine Arts, Boston’s collections accessibly and affordably. Its aim is threefold: to make available the greatest masterworks in the MFA; to provide an informative, readable overview of various artistic genres, cultures, and periods, for use by students, visitors, and scholars; and, over time, to create a library that will act as a general tour of world art through the ages.

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Poussin’s scenes of bacchanalian revelry, tripping maenads and skipping nymphs are often described as ‘dancelike’ and ‘choreographed’. The artist’s dancing pictures helped him develop a new approach to painting that would become the model for the French classical tradition. Shedding the sensuous, painterly manner of his early career, Poussin carved out the crisp, relief-like approach that characterized his mature work and set the precedent for three centuries of French art, from Le Brun and David to Cézanne and Picasso. He carried lessons learned from dance into every corner of his production. This book brings together a key group of paintings and drawings by Poussin, exploring the theme of dance and dancers in his production for the first time. Focusing on the dancing pictures created in Rome in the 1620s and 1630s, essays connect Poussin’s interest in dance, his study of antiquities, and his formulation of a new classical style. Richly illustrated and engagingly written, this publication uses the prism of dance to cast Poussin in a new, fresh light.Published by National Gallery Company/Distributed by Yale University PressExhibition Schedule:J. Paul Getty Museum June 8 – August 29, 2021National Gallery, London October 9, 2021 – January 2, 2022

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The name Manet often evokes the provocative, heroically scaled pictures he painted in the 1860s for the Salon, but in the late 1870s and early 1880s the artist produced quite a different body of work: stylish portraits of actresses and demimondaines, luscious still lifes, delicate pastels, intimate watercolours and impressionistic scenes of suburban gardens and Parisian cafe s. Often dismissed as too pretty and superficial by critics, these later works reflect Manet's elegant social world, propose a radical new alignment of modern art with fashionable femininity, and record the artist's unapologetic embrace of beauty and visual pleasure in the face of death. Featuring nearly three hundred illustrations and nine fascinating essays by established and emerging Manet specialists, a technical analysis of the late Salon painting Jeanne (Spring), a selection of the artist's correspondence, a chronology, and more, 'Manet and Modern Beauty' brings a diverse range of approaches to bear on a little-studied area of this major artist's oeuvre.

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The painting La Surprise by Jean Antoine Watteau (1684-1721) belongs to a new genre of painting invented by the artist himself-the fete galante. These works, which show graceful open-air gatherings filled with scenes of courtship, music and dance, strolling lovers, and actors, do not so much tell a story as set a mood: one of playful, wistful, nostalgic reverie. Esteemed by collectors in Watteau's day as a work that showed the artist at the height of his skill and success, La Surprise vanished from public view in 1848, not to reemerge for more than a century and a half. Acquired by the Getty Museum in 2017, it has never before been the subject of a dedicated publication. Marking the three hundredth anniversary of Watteau's death, this book considers La Surprise within the context of the artist's oeuvre, and discusses the surprising history of collecting Watteau in Los Angeles.

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