- Paperback: 448 pages
- Publisher: Royal Academy of Arts; 1st ed edition (Jan 2000)
- Language English
- ISBN-10: 0900946822
- ISBN-13: 978-0900946820
- Product Dimensions: 30.4 x 24.8 x 3.4 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 1,648,288 in Books (See Top 100 in Books)
| ||||||||||||||||||
Did you know you can trade in your old books for an Amazon.co.uk Gift Card to spend on the things you want? Visit the Amazon.co.uk Trade-In Store for more details. |
Product details |
More About the Author
Product Description
Synopsis
Looks back on the Paris World's Fair of 1900, and surveys its artwork and the artists who produced it.
--This text refers to an out of print or unavailable edition of this title.
Tag this product(What's this?)Think of a tag as a keyword or label you consider is strongly related to this product.
Tags will help all customers organise and find favourite items. |
Sell a Digital Version of This Book in the Kindle Store
If you are a publisher or author and hold the digital rights to a book, you can sell a digital version of it in our Kindle Store.
Learn more
Customer Reviews
Most Helpful Customer Reviews
Format:Hardcover
I have quite a few art books covering different artists and eras, but if I had to save one from the proverbial fire, it would very likely be this staggering companion volume to two exhibitions held in London & New York in 2000.
The book (I am reviewing the hardcover edition) is something of an artwork in itself, big & hefty. It consists of two shortish essays by Robert Rosenblum and Maryanne Stevens, followed by over 300 beautifully reproduced paintings and sculptures in various themed sections each introduced by Ann Dumas. Before all that are about 55 pages, illustrated with photographs & paintings, giving the reader an outline of the World`s Fair held in Paris in 1900 (hence the book`s title) where the artists represented here showed their work. Not content with such plenitude, in the final 70 pages we are given the coup de grace: lavishly illustrated with photos of each & every artist, brief but comprehensive biographies - from Jules Adler to Ignacio Zuloaga. The obscurity of those two names will give you some idea of the range of artists you`ll find in these pages. Many were new to me, just as many were not, for here are Cezanne, Matisse, Hammershoi, Sickert, Pissarro, Monet, Rodin, Redon, and Repin the Russian genius. Bonnard is here, as is Mary Cassat, and so is Jules Breton - about whom I for one will hear no ill!
In other words, representatives from the world of Western art - and that includes many Scandinavians, I`m delighted to say - who were active at the turn of that century are here in force.
I can`t choose highlights, but allow me to give a hint of the glories herein by mentioning the first few pages of the "Landscape" section. A misty Monet, a lucent view over fields, lake and mountains by Hodler, an unforgettably serene "Twilight" by Chekhov`s friend Levitan, an early gnarly treescape by Mondrian, more trees from Klimt, a bracingly gloomy "Tomb of Bocklin" by Keller, a haunting poplar new to me from, again, Klimt, a typically hermetic seascape by Nolde, an equally typically robust seascape by Winslow Homer, a Munch, a Cezanne, a Degas...and "White Mark IV" by the playwright-painter Strindberg, a thrashing sea of foreboding greys.
There is so much more, and so much of it is memorable - even the inevitable works that are a trifle twee or overblown. Bury your head in this great book and you`re unlikely to emerge again for hours.
There is a handy List of Works and an index too. Why, you even get a map, or should I say a "Plan De L`Exposition Universelle De 1900". Oh to have been there!
This labour of love is the next best thing.
The book (I am reviewing the hardcover edition) is something of an artwork in itself, big & hefty. It consists of two shortish essays by Robert Rosenblum and Maryanne Stevens, followed by over 300 beautifully reproduced paintings and sculptures in various themed sections each introduced by Ann Dumas. Before all that are about 55 pages, illustrated with photographs & paintings, giving the reader an outline of the World`s Fair held in Paris in 1900 (hence the book`s title) where the artists represented here showed their work. Not content with such plenitude, in the final 70 pages we are given the coup de grace: lavishly illustrated with photos of each & every artist, brief but comprehensive biographies - from Jules Adler to Ignacio Zuloaga. The obscurity of those two names will give you some idea of the range of artists you`ll find in these pages. Many were new to me, just as many were not, for here are Cezanne, Matisse, Hammershoi, Sickert, Pissarro, Monet, Rodin, Redon, and Repin the Russian genius. Bonnard is here, as is Mary Cassat, and so is Jules Breton - about whom I for one will hear no ill!
In other words, representatives from the world of Western art - and that includes many Scandinavians, I`m delighted to say - who were active at the turn of that century are here in force.
I can`t choose highlights, but allow me to give a hint of the glories herein by mentioning the first few pages of the "Landscape" section. A misty Monet, a lucent view over fields, lake and mountains by Hodler, an unforgettably serene "Twilight" by Chekhov`s friend Levitan, an early gnarly treescape by Mondrian, more trees from Klimt, a bracingly gloomy "Tomb of Bocklin" by Keller, a haunting poplar new to me from, again, Klimt, a typically hermetic seascape by Nolde, an equally typically robust seascape by Winslow Homer, a Munch, a Cezanne, a Degas...and "White Mark IV" by the playwright-painter Strindberg, a thrashing sea of foreboding greys.
There is so much more, and so much of it is memorable - even the inevitable works that are a trifle twee or overblown. Bury your head in this great book and you`re unlikely to emerge again for hours.
There is a handy List of Works and an index too. Why, you even get a map, or should I say a "Plan De L`Exposition Universelle De 1900". Oh to have been there!
This labour of love is the next best thing.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
4 reviews
22 of 24 people found the following review helpful
Superb Book!
13 May 2000
Format:Hardcover
This book balances the often overpraised work of the impressionists with the reality of the Salon artists (academics) at that time and the rumblings of modernism to come. As a painter, this title is a real treat... it's always been so hard to find examples from this era, that have not been washed away from post 1920's revisionist art history. Accurately reconstructing the exhibits of that era and showing what was on the fringes speaks for itself.
7 of 7 people found the following review helpful
a Rosenblum fan
23 May 2000
Format:Hardcover
Robert Rosenblum is a true scholar in the world of art history. Throughout my undergraduate years, I had looked to his writings for guidance and to gain an understanding of the subject matter. While 1900, Art At The Crossroads is enjoyable and the color plates are stunning, it should be noted that it is companion piece to an exhibition and not a book for academic research. Overall, it is a fine book.
8 of 9 people found the following review helpful
1900 - A Pivotal Point In Art History - Superb Color Plates
7 Aug 2004
Format:Hardcover
Robert Rosenblum's "1900: Art At The Crossroads" is a gem of a book. This exhibition catalogue contains more than 300 color plates and approximately 200 additional illustrations of paintings and sculpture from a benchmark period in art history. The year nineteen hundred, the beginning of the 20th century, ushered in a period when art was truly at a crossroads. It was, at once, the beginning and the end of an era - the culmination of 19th century art and the beginning of a revolution. Salon artists, the academic realists, Rouault, Sargent, Whistler, and Homer, etc., were at their peak and their work was widely acclaimed. And painters, newly arrived on the scene, from Impressionists, Post-Impressionists to those who had yet to find a label for their work, like Cezanne, Matisse, Mondrian, Picasso, Kandinsky, Klimt and Gaugin, were beginning to discover new methods, new ideas, to express what they saw and felt. They learned from tradition and sought to escape it. These artists would go on to change the way the Western world looked at art
This compilation, the companion volume to a major international exhibit, provides an extraordinary visual history of that period. The quality of the reproductions, especially the color plates, is superb. Work by lesser known artists are displayed here, as well as paintings and sculptures by those whose names we recognize immediately. The book is organized into categories according to subject, i.e., bathers, nudes, self-portraits, still life and landscapes. This method of organization, similar to the concepts established by the French Academy in the 17th century, makes for some fascinating comparisons, i.e., an abstracted Degas nude alongside a classical nude by Carolus-Duran. Robert Rosenblum and Mary Anne Stevens purposely included a wide range of work completed at approximately the same time to reflect change - the wide variety of styles and techniques employed at this period by different artists.
This is a beautiful book and a brilliant study of a pivotal point in European art history. There is a 70 page section of artists' biographies at the catalogue's conclusion.
JANA
This compilation, the companion volume to a major international exhibit, provides an extraordinary visual history of that period. The quality of the reproductions, especially the color plates, is superb. Work by lesser known artists are displayed here, as well as paintings and sculptures by those whose names we recognize immediately. The book is organized into categories according to subject, i.e., bathers, nudes, self-portraits, still life and landscapes. This method of organization, similar to the concepts established by the French Academy in the 17th century, makes for some fascinating comparisons, i.e., an abstracted Degas nude alongside a classical nude by Carolus-Duran. Robert Rosenblum and Mary Anne Stevens purposely included a wide range of work completed at approximately the same time to reflect change - the wide variety of styles and techniques employed at this period by different artists.
This is a beautiful book and a brilliant study of a pivotal point in European art history. There is a 70 page section of artists' biographies at the catalogue's conclusion.
JANA
Were these reviews helpful?
Let us know
Listmania!
Look for similar items by category
Look for similar items by subject
Feedback
- Would you like to update product info or give feedback on images?
- I am the Author, and I want to comment on my book.
- I am the Publisher, and I want to comment on this book.
