This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries.
The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term.
This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.
This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries.
1. Mapping Impressionist Constellations (Emily C. Burns and Alice M.
Rudy Price);
2. Camille Pissarro, Fritz Melbye, and Early Impressionist
Innovation in Caracas (Mia Laufer);
3. Impressionism as Erasure: Whistler and
the Chincha Islands War (Alexis Clark);
4. Frontier Impressionisms in the
United States and Australia (Emily C. Burns);
5. Transplanting Impressionism
to Canada (Samantha Burton);
6. Christian Krohgs Images of Family Intimacy
in the Age of Impressionism (Øystein Sjåstad);
7. An Arctic Impressionism?:
Anna Boberg and the Lofoten Islands (Isabelle Gapp);
8. Jeune Turc, Jeune
Femme: Impressions of a New "Beauté Orientale" (Ahu Antmen);
9. Only the
Colors Should Begin to Compose: Stanisaw Wyspiaskis Window View(s) and
the Politics of Polish Color (Amalia Wojciechowski);
10. Institutionalizing
Impressionism: Kuroda Seiki and Plein-Air in Japan (Chinghsin Wu);
11. From
Famed Masters to a New Generation: Durand-Ruels Transatlantic Label
"Impressionism" (Hadrien Viraben and Claire Hendren);
12. "The Rayonnement of
Our Ideals": French, German, and Nordic Painting in Fin-de-Siècle France
(Nicholas Parkinson);
13. Impressionism Projected: Anna Ancher, Hygge, and
Danish Modernism (Alice M. Rudy Price);
14. "Echoes of Impressionism":
Joaqúin Claussel and the Politics of Mexican Art (Mark A. Castro);
15.
Italian Futurism, Socialism, Urban Change, and Impressionism (Zoë Marie Jones)
Emily C. Burns is Associate Professor of Art History at Auburn University.
Alice M. Rudy Price is Adjunct Instructor at Temple University, Tyler School of Art and Architecture and Thomas Jefferson University, College of Architecture and the Built Environment.
