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Édouard Manet
This is a richly illustrated new volume devoted to the most important works by Édouard Manet —a pivotal figure in the emergence of Impressionism and widely considered the first modern artist. With nearly one hundred seminal paintings, this publication celebrates the artist who paved the way for the Impressionist movement and the rise of modernism. Combining a radical technique with contemporary subjects, Manet’s groundbreaking works engage with modern Paris, depicting its new boulevards and fashionable parks and cafés along with a range of urban types, from ragpickers and prostitutes to barmaids and elegant Parisians. Included here are the artist’s iconic scenes of modern life such as Luncheon on the Grass, with its shocking juxtaposition of a female nude and a pair of fully dressed men, and Olympia, a modern reworking of Titian’s Renaissance masterpiece, Venus of Urbino, that scandalized Paris in the 1860s and established Manet as the leader of the avant-garde. This book also explores Manet’s artistic legacy in the work of subsequent generations of artists, from Cézanne and Picasso to contemporary artists including Nicole Eisenman.
The Metropolitan Museum of Art
This monumental new book is the first to celebrate the greatest and most iconic paintings from the encyclopedic collections of The Metropolitan Museum of Art, New York, one of the largest, most important, and most beloved museums in the world. This impressive volume's broad sweep of material, all from a single museum, makes it at once a universal history of painting and the ideal introduction to the iconic masterworks of this world-renowned institution. More than 1,000 lavish color illustrations and details of 500 masterpiece paintings, created over 5,000 years in cultures across the globe, are presented chronologically from the dawn of civilization to the present. These works represent a gr...
Mother’s Milk and Male Fantasy in Nineteenth-Century French Narrative
Should all mothers breast-feed their children? This question remains controversial in the twenty-first century. In an interview with the newspaper Liberation in 2010, feminist philosopher Elisabeth Badinter claimed that the pressure to breast-feed signified “a reduction of woman to the status of an animal species, as though we were all female chimpanzees.” The debate over maternal nursing held even more urgency before pasteurization provided a safe alternative in the early 1900s. While scholars of literary criticism and art history have described the abundance of breast-feeding imagery following the publication of Rousseau’s Emile in 1762, little has been written on its manifestations ...
The Metropolitan Museum of Art: Publications 2024
This catalogue, published annually by The Metropolitan Museum of Art, announces the Museum's publications for that year. It also features notable backlist titles and provides a complete list of books available in print at the time of publication.
The Reclining Nude
This book, a sensuous evocation of images of the reclining nude, claims a female-identified pleasure in looking. Agnès Varda, Catherine Breillat, and Nan Goldin are re-imagining images of female beauty, display, (auto)eroticism, and intimacy. The reclining nude is compelling, for female-identified artists in the ethically adventurous, politically complex feminist issues it engages.
Portraiture and Politics in Revolutionary France
Portraiture and Politics in Revolutionary France challenges widely held assumptions about both the genre of portraiture and the political and cultural role of images in France at the beginning of the nineteenth century. After 1789, portraiture came to dominate French visual culture because it addressed the central challenge of the Revolution: how to turn subjects into citizens. Revolutionary portraits allowed sitters and artists to appropriate the means of representation, both aesthetic and political, and articulate new forms of selfhood and citizenship, often in astonishingly creative ways. The triumph of revolutionary portraiture also marks a turning point in the history of art, when seriousness of purpose and aesthetic ambition passed from the formulation of historical narratives to the depiction of contemporary individuals. This shift had major consequences for the course of modern art production and its engagement with the political and the contingent.
Van Dyck
The first major examination of Anthony van Dyck's work as a portraitist and an essential resource on this aspect of his illustrious career This landmark volume is a comprehensive survey of the portrait drawings, paintings, and prints of Anthony van Dyck (1599-1641), one of the most celebrated portraitists of all time. His supremely elegant style and ability to convey a sense of a sitter's inner life made him a favored portraitist among high-ranking figures and royalty across Europe, as well as among his fellow artists and art enthusiasts. Showcasing the full range of Van Dyck's fascinating international career with more than 100 works, this catalogue celebrates the artist's versatility, inve...
How to Read Portraits
Portraiture goes far beyond capturing a likeness. This intimate genre sheds light on the subjects’ and makers’ politics, relationships, aspirations, and insecurities. Featuring more than fifty works across time and cultures, from the lifelike Faiyum funerary masks of ancient Roman Egypt to Pablo Picasso’s and Marsden Hartley’s abstractions to likenesses imagined by contemporary artists, this publication probes the notion of what constitutes a portrait, beyond mere verisimilitude. Bestselling author Kathryn Calley Galitz illuminates how artists through the ages have exploited the genre to reveal character and convey power and status; how artists as varied as Rembrandt and Cindy Sherman embraced artifice and roleplaying to explore identity; and how the term “portraiture” encompasses a wider variety of works than typically thought. This reexamination of a deceptively familiar genre provides fascinating ideas about what these images can tell us about the sitter, the artist, the culture in which they lived, and ourselves.
The French Portrait
A collection of portraits painted between 1784 and 1826 with essays on the times and the artists represented.
