Book Description
William Bouguereau (1825–1905) was an influential French academic painter, who taught a long succession of gifted students, primarily at the private Académie Julian in Paris. Among them, Bouguereau instructed more than two hundred young American artists. In the Studios of Paris provides a unique look at the history of Parisian art education during the last quarter of the 19th century and its profound influence on American art.
This landmark publication—the first to focus exclusively on Bouguereau and his American pupils—presents sixty-five paintings, drawings, and prints by the master and eleven of his most prominent students, including Eanger Irving Couse, Elizabeth Gardner Bouguereau, and Robert Henri. A series of carefully researched essays place the artists’ work in historical context and discuss various American responses to Bouguereau’s painting and pedagogical techniques, along with the subsequent reception and collecting of their work in the United States.
Customer Reviews:
In the Studios of Paris: William Bouguereau and His American Students.......2007-01-11
I would recommend that book to William Bouguereau estimators
excellent.......2007-01-05
Damien Bartoli is an insightful scholar. The essays on Couse and Gardner add a lot to the discourse on nineteenth century painting.
Catalogue Review.......2006-11-29
The catalogue contains fine reproductions and interesting commentary. Of particular interest is Eric M. Zafran's essay William Bouguereau in America , wherein Zafran follows the rise and fall of Bouguereau among American collectors and critics. He includes many direct quotes from contemporary writers which piece together the "roller-coaster" of public opinion about Bouguereau's paintings. After reading the essay, one can understand how Bouguereau fell into disfavor in the 20th century among the cognoscenti, but has never really fallen out of favor with the masses. It would seem that Bouguereau's skill and finesse were such that he became a watershed in the late 19th century, resulting in the reemergence of the tired argument about the vacuity of academic art. Also of interest and delving into more detailed matters about training is Damien Bartoli's essay, "William Bouguereau the Teacher." Bartoli weaves together Bouguereau's warm and generous nature with his goals and ideas about the training of artists. If there is a lacuna in the catalogue, it is that there is little about Bouguereau's actual working method, or those of his students. As is often the case among writers on art, the bulk of information is biographical, which tells an incomplete story. There are also some careless uses of terminology, such as the definition of academies given on page 13, where such works are characterized as sketches. These drawings, as one can see in the four examples included in the exhibition, were careful and meticulous studies. Another term used in the catalogue is style, often in discussions about what Bouguereau's students may have derived from him. Given the mastery of craft demonstrated by Bouguereau, as well as the breadth and number of his works, style seems like a trivial term to characterize what made Bouguereau unique. The exhibition successfully accomplished the goal of showing the wide-reaching influence of Bouguereau in the works of American artists, which are diverse and often non-academic. Though Bouguereau had much less influence on American art than Gérôme, the featured works demonstrate that he trained painters in such a way that, with the exception of Gardner , they pursued their unique artistic visions. One is left, however, with the lingering sense of awe at the master's command and production, which greatly overshadows that of his students.
Congratulations are due both Mr. Peck and The Philbrook Museum of Art for understanding the relevance of this master today and for a superior job in the presentation of the subject. This book will no doubt be a common feature on the shelves of artists, art historians, and collectors.
Steve Armes
Customer Reviews:
I LOVE this book!!!.......2007-05-30
I bought this book in the Louvre Museum in Paris, where we were able to see some of the originals. They're compelling and just draw you in! This book allowed me to bring the paintings home, and study them. It's easy to read, and goes into detail explaining not only about Bouguereau, but also explains a lot of the detail and symbolism that he used in his paintings. So now I can enjoy them on a whole new level. I'm not a big art buff, but I know I'm drawn to his paintings, this was just a perfect book to cut my teeth on, and help to develop a better understanding of some very famous paintings. Buy the book. You won't regret it!
Bouguereau did paint from photos contrary to authors comment........2007-05-08
Yes the reproductions are great and deserve full stars yet there is much fault with Wissman's ignorant statement that Bouguereau did not use (paint from) photographs. This comment potentially questions the creadability of what otherwise would have seemed to be a very good analysis. For alternative comments, see "W.B" - Montreal Museum's '84 publication for a traveling show. It offers more "behind scenes" info. about the production of his work and their authors more credibly state, he "actively collected photographs" but "he almost never worked from photos" which is still an understatement. Included are photos of him in his studio painting and with another photo of Mich's. Pieta in background. I found a used copy here on Amazon, ISBN 2-89192-047-3 Mr. B. was a transitional figure in art history, caught between early 19th C. "tail end" classical art and late 19th C. art when photorealism began rearing its evil head, destroying classical art and bringing this "ism" to a point of extreme today. It is impossible to determine what extent he used them, yet it is clearly evident to a more trained eye, that he used photos, particularly with some of the complex children/cherubs he incorporated. This occasionally created a quality which, no doubt, helped to inspire criticism (noted in Wissman's bk)regarding the overly polished, sometimes cut-out and outlined aspects of some of his figures. He was able to get away with it for the most part because he had a more proper training as a student prior to exposure to photos. (I myself am a painter/sculptor studying classical art - I admire B. greatly yet to say he was a purest would be false since he clearly had an opportunist streak about him as many others did, and to a certain extent I can't blame him. But he helped to start a terrible trend which has turned classical painting and sculpture into a virtually lost art).
Bouguereau was a low-brow purveyer of cotten candy..........2007-03-02
Good reproductions and an honest view of the paintings artistic worth. This is what happens when you paint for success. You are as corny as your public. Bouguereau has good,not great, painting chops. Caravaggio, Vermeer, Ingres; THOSE are great painters! But Bouguereau's paintings are humorous in a Thomas Kincaid(R) kind of way.
From the book:
Bouguereau never forgets that he is painting pictures that are to be bought by rich people for the adornment of their drawing-rooms, and he takes care that nothing in them shall be out of keeping with the tasteful and elegant things that surround them. Since one of the things that rich and fashionable people take pleasure in, is the knowledge that there are others in the world who are not as well off as themselves, Bouguereau has provided for his admirers an ample supply of pretty beggar-children, young peasants, mothers of the picturesque poor, and so forth and so on, who are in truth people of the upper class, or seem to be such, with beautiful faces, fine heads of hair, rich eyes, chiseled lips, ivory skins, hands that never wore gloves, feet that never wore shoes, and all in a state of immaculate cleanliness, and in garments where, if a patch or two is to be seen, it is accepted as mere symbolism, and offends nobody. An irreproachable refinement of sentiment goes hand in hand with this irreproachable taste. The French "freedom" which offends so many people here and in England, and many people, be it said, in France as well, is never betayed in Bouguereau's pictures; they are as pure, as passionless and as cold as an anchorite could desire. Now in an orderly society regulated by wholesome rules dictated by conventional propriety, such a painter is sure of his reward; and as such a society is naturally founded on sound commercial principles, it is an added recommendation that whoever gets a picture by Bouguereau gets the full worth of his money, in finished painting, first-rate drawing, and a subject and treatment no well-bred person can find fault with.
Bouguereau.......2006-07-05
The art of Bouguereau is stunning. It stirs a beauty from deep within us that blooms in recognition of a beauty made visible by the stroke of his brush. So full and intoxicated with passion, his work seems an extension of gratitude for life itself. Through the canvas of this fine French Academic Artist, we witness how love is truly more persistent than time.
I am so taken by the art; I have yet to read what Wissman has written about his life. I think his art speaks with such clarity; he must have been a man with a great capacity to fully embrace the nature of the life he was given.
In a World of his Own.......2005-09-10
Adolphe-William Bouguereau (1825-1905) is in many ways the French equivalent of the British Victorian class of figurative painters - Lawrence Alma Tadema, Lord Leighton, JW Waterhouse - and had he lived in England rather than in the Impressionist laden France, he would be much better known today. Not that Bouguereau is unfamiliar to collectors and museums: in his time his portraits and luxurious paintings of shepherdesses and mythological creatures in a world of eternal beauty were popular and were added to important collections. It is only now with the new respect for the figure in painting that his name is becoming more recognizable.
Fronia E. Wissman has written a concise and illuminating text for this monograph and her style of exposition matches her subject. The book is filled with magnificent illustrations of Bouguereau's paintings with details and full-scale works allowed the prestige of excellent color reproductions. This is a fine monograph and one that belongs in the libraries of collectors and art historians who remain fascinated with the fin de siècle schools of painting. Highly Recommended. Grady Harp, September 05
Customer Reviews:
More like this.......2006-08-05
As an artist myself, I appreciate the incredible work of this fabulous artist. I wish someone would publish a book of his works. The skin tones are beyond comparison. If you're not familiar with him, buy this little book so you can savor true artistic genius.
From the Publisher.......2005-11-13
"French painter Adolphe-William Bouguereau (1825-1905) created more than seven hundred finished works and achieved a remarkable level of popular acclaim and financial success. The tenderness with which he portrayed children and domestic scenes, his technical skill and passion for the classics, and his love of rich color are hallmarks of Bouguereau's exquisite paintings. This book of postcards presents thirty of his beautiful works.
"Pomegranate's books of postcards contain thirty top-quality reproductions bound together in a handy, artful collection. Easy to remove and produced on heavy card stock, these stunning postcards are a delight to the sender and receiver. Note: postcards are oversized and may require additional postage. ISBN: 0-87654-365-4; size: 4 3/4 x 6 7/8"."--© Pomegranate
BEAUTIFUL POSTACRDS. I RECOMMEND THEM........2004-03-02
YOU WILL WANT TO FRAME THESE POSTCARDS AND HANG THEM ON THE WALLS. I MIGHT JUST DO THAT.
Customer Reviews:
It has it's good sides..........2006-11-12
This book is invaluable to me. My art teacher had a photocopy version of it that I've gone to again and again. I finally found myself a copy and happily shelled out 85$ for it. The reason I found this book far more valuable than the Wiseman book is probably because I'm a student.
This book has more pictures of his drawings, studies, and cartoons than any other I've seen. As well, it has a more thorough description of his working method than any other. I dont mind the black and white nature of most of the book, as most of the book is drawings and sketches, compositional studies and beautiful tracings.
Until the catalog that the ArtRenewelCenter is releasing, (and shamelessly, severely overcharging for, imo) I consider this book to be the best on Boug available. Though, this is the perspective of a student, and it colored by my love of technique and drawing.
Borrow this Bouguereau.......2004-06-11
This is the official catalog of the 1984 Paris-Montreal exhibition that helped restore some of the luster to Bouguereau's reputation. It contains several critical essays and dozens of reproductions. However - I prefered Wiseman's more recent book for several reasons. Firstly, while Wiseman has fewer reproductions of paintings, they tend to be in colour and printed full-page. Most of the reproductions here are in black and white and small. Secondly, Wiseman includes most of the best-known Bouguereau paintings. Thirdly, Wiseman is simply more readable to a non-professional reader. Much of the information isn't very enlightening to someone who simply wants to learn a bit about Bouguereau's life or enjoy some of his paintings. If you are a professional art historian specializing in pompier art, then I can understand seeking out a copy of this book for your collection. Otherwise, just borrow it from a library.
Average customer rating:
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19th Century European Paintings, Drawings, Watercolors and Sculpture: Paintings (Lots 1 - 206, 461 - 567) - Christie's New York, October 26, 1988 (F. Mortelmans, J. Israels, Munthe, Meissonier, Bouguereau, T. Ribot, R. Bonheur, Diaz, and many others)
Christie's New York
Manufacturer: Christie's
ProductGroup: Book
Binding: Paperback
ASIN: B000H4O9VK |
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Bouguereau Address Book
Manufacturer: Pomegranate Communications
ProductGroup: Book
Binding: Spiral-bound
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ASIN: 0876545037 |
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Bouguereau Notecards
Manufacturer: Pomegranate Communications
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Binding: Unknown Binding
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ASIN: 1566409705 |
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European Airbrush 1
Manufacturer: Restrepo
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Binding: Paperback
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ASIN: 848650404X |
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European Airbrush 1
Editorial Restropo S A
Manufacturer: Watson-Guptill Publications
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ASIN: 0823058050 |
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Writer's France: A Regional Panorama
John Ardagh
Manufacturer: H. Hamilton
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Binding: Hardcover
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ASIN: 0241123518 |
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Hamtaro: Watch Out! It'S A Cat! (Hamtaro)
Manufacturer: VIZ Media LLC
ProductGroup: Book
Binding: Board book
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ASIN: 1591160901 |
Book Description
The cute and cuddly pet of fifth-grader Laura, Hamtaro is a golden hamster with an insatiable curiosity. Together with the Ham-Ham Gang, a bunch of hamsters as clever and unique as Hamtaro himself, Hamtaro lives each day as a whole new adventure ... complete with fun, excitement, and friendship. In this imaginative board book with a hole cut through each page, the picture and story change with each new page. On the first page, Hamtaro and his Ham-Ham friends think they see a cat about to pounce on them, but as the story unfolds and the pages are turned one by one, the scary "cat" turns out to be anything but.
Book Description
For decades the federal government and Air Force have denied that an alien spacecraft crashed at Roswell in 1947. Many people feel that there was a massive cover-up to hide this fact. Indeed there may have been, not by the Air Force, more likely by the Immigration and Naturalization Service. The fact is, this alien creature escaped the grasp of the military after the crash and has been an illegal resident of the United States for most of the time since (at least in most time lines). This book tracks the convoluted history of Nilnix Esoterica (or at least that is what he called himself while he lived here) and the impact of his residency on the history of the post-WWII United States. This book is a ride through what happened, why it happened, and the way it happened in the other time lines where it happened or where it did not happen.
Book Description
As Bill Monroe is commonly lauded as "the father of bluegrass music," his tunes are standard repertoire and should be studied and memorized by any serious student of bluegrass. This book is a collection of transcriptions in notation and tablature taken from classic instrumentals recorded over a span of 40 years, from the early 1940s to the early 1980s. It functions as a "fake book" for bluegrass students to learn the original melody or to study Monroe's playing style. The melodies were played by mandolin, fiddle, twin fiddles, or triple fiddles, and are grouped accordingly. Generally included with the fiddle melody is a transcription of the mandolin break. These transcriptions, along with the discography, will be an important resource for any student of bluegrass music.
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New Trends in Employment Practices: An International Survey (Contributions in Labor Studies)
Walter Galenson
Manufacturer: Greenwood Press
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Binding: Hardcover
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ASIN: 0313276293 |
Book Description
In recent years, fundamental economic forces have profoundly affected the labor markets of the industrialized nations. Among these forces are: the mass entrance of women into the labor market and major changes in work patterns designed to accomodate them; industrial restructuring due to the decline in manufacturing and the concomitant rise in service industries and advanced technologies; the shift in workers' objectives toward job security, improved quality of working life, and more adequate provision for post-retirement years; and, finally, employee demand for "industrial democracy" or increased participation in making business decisions, which has led to the implementation of economically viable participatory schemes. The policy innovations and experiments effected during the past two decades in response to these labor market developments are the subject of New Trends in Employment Practices. In addition to the United States, the author considers four major industrial nations of the democratic world, France, Germany, Great Britain, and Japan. Walter Galenson also looks at Sweden, a country long noted for its imaginative labor programs, and the Soviet Union, a nation where recent events have graphically illustrated the strength of the demand for greater democracy at the enterprise and political levels. The book begins with a discussion of the promotion of industrial democracy at the enterprise level, citing a State of Washington program in which the unemployed receive seed money to start small businesses instead of being sent unemployment benefits. Galenson also details British experience with this same scheme. In "Industrial Democracy at the Shop Floor Level," employee representation on corporate boards and employee ownership of companies, increasingly common phenomena in the United States, are investigated along with the relevant experience under German codetermination. Chapter Three is devoted to the movement for an improved Quality of Working Life (QWL), which is based largely on Japanese and Swedish models and has many adherents in the United States and Canada. Chapter four illustrates programs that take into account increased desire for job security, and specifically the Japanese system of lifetime employment guarantees. Preserving jobs and finding new ones when layoffs do occur, and Sweden's two-decade, near-zero unemployment due to its "active labor market policy," are reviewed next. Chapter Six's focus is on the altered patterns of work time and Chapter Seven describes how various aspects of Soviet employment were handled in the past and explains the impact of Gorbachev's reforms. A final chapter offers a summary and conclusions. This cogent treatment of labor market practices will be of vital interest to corporate labor administrators who are or will be engaged in collective bargaining over the subjects treated in these pages. The book is ideal for courses in labor economics, comparative labor institutions, and internationally oriented courses in business schools.
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