A timely collection of fascinating essays that restore impressionism to its appropriate global context
For many decades, impressionism has occupied a central place in the canon of art history, but new transnational approaches to the study of nineteenth-century art have complicated the perpetuation of Francocentric histories. As the field’s attention has increasingly turned to places outside of France, including Britain, the United States, Australia, and beyond, the time is ripe to place impressionism within a global context.
In this collection of fourteen essays, a distinguished group of scholars deploy new methodological tools, theories, and paradigms to explore how impressionism as an artistic language simultaneously operated locally, nationally, and internationally around the world; how Europe, especially Paris, has existed as a privileged center of modernity and modern art; how a transnational network of artists, critics, scholars, curators, and dealers worked across linguistic, institutional, geographical, and political boundaries; and much more. These texts, while not abandoning France and French impressionism, contribute to the ongoing work to dismantle the franco-centrism of impressionism studies and to the anglocentrism of art history as a discipline.
This is a born-digital publication available exclusively on the A&AePortal.
Alexis Clark is teaching assistant professor in the history of art, North Carolina State University. Frances Fowle is Personal Chair of Nineteenth-Century Art, University of Edinburgh, and senior curator, French art, the National Galleries of Scotland.
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