Picture 1 of 1
Gallery
Picture 1 of 1
Have one to sell?
Realism in the Age of Impressionism: Painting and the Politics of Time by Young
US $59.95
ApproximatelyS$ 76.92
Condition:
Brand New
A new, unread, unused book in perfect condition with no missing or damaged pages.
Oops! Looks like we're having trouble connecting to our server.
Refresh your browser window to try again.
Shipping:
US $6.47 (approx S$ 8.30) USPS Media MailTM.
Located in: North Chicago, Illinois, United States
Delivery:
Estimated between Sat, 13 Sep and Fri, 19 Sep to 94104
Returns:
30 days return. Buyer pays for return shipping. If you use an eBay shipping label, it will be deducted from your refund amount.
Coverage:
Read item description or contact seller for details. See all detailsSee all details on coverage
(Not eligible for eBay purchase protection programmes)
Seller assumes all responsibility for this listing.
eBay item number:187486777316
Item specifics
- Condition
- Brand New: A new, unread, unused book in perfect condition with no missing or damaged pages. See all condition definitionsopens in a new window or tab
- Publication Date
- 2015-07-24
- Book Title
- Realism in the Age of Impressionism: Painting and the Politics of
- ISBN
- 9780300208320
About this product
Product Identifiers
Publisher
Yale University Press
ISBN-10
0300208324
ISBN-13
9780300208320
eBay Product ID (ePID)
208594681
Product Key Features
Number of Pages
272 Pages
Publication Name
Realism in the Age of Impressionism : Painting and the Politics of Time
Language
English
Publication Year
2015
Subject
History / Modern (Late 19th Century to 1945), Criticism & Theory, European
Type
Textbook
Subject Area
Art
Format
Hardcover
Dimensions
Item Height
0.1 in
Item Weight
42.8 Oz
Item Length
1 in
Item Width
0.8 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2014-943612
Dewey Edition
23
Reviews
"What emerges is a very unusual bringing together of what is usually dealt with separately, by those dedicated to different methodological frameworks: a Marxist-inspired social history of art as exemplified in the work of T.J. Clark, versus a Friedian phenomenology of "absorption and theatricality," and their different ways of combining an address to both form and content, facture and iconography. Thus Marnin Young's text manages to nuance and complicate very usefully all the existing narratives of this period of 'avant-garde' art as well as the standard divisions in art historical methodology associated with it."--Carol Armstrong, Yale University, "What emerges is a very unusual bringing together of what is usually dealt with separately, by those dedicated to different methodological frameworks: a Marxist-inspired social history of art as exemplified in the work of T.J. Clark, versus a Friedian phenomenology of "absorption and theatricality," and their different ways of combining an address to both form and content, facture and iconography. Thus Marnin Young's text manages to nuance and complicate very usefully all the existing narratives of this period of 'avant-garde' art as well as the standard divisions in art historical methodology associated with it."--Carol Armstrong, Yale University, "Amid the endless stream of images that come our way as part of the twenty-?rst-century visual economy, Young's book provides a lesson in the value of slow looking." --Andrea Korda, RACAR: revue d'art canadienne , "Through its impressive command of the corpus of late nineteenth-century art criticism and its convincing articulation of the importance of temporality as an analytical and historical category, Realism in the Age of Impressionism is . . . an important contribution to nineteenth-century French art history."--Samuel Raybone, Art History, "Young brings to bear a remarkable knowledge of the contemporary critical literature.... [The book's chapters] introduce a young scholar of rare penetration."--Christopher Riopelle, The Art Newspaper, "Amid the endless stream of images that come our way as part of the twenty-First-century visual economy, Young's book provides a lesson in the value of slow looking." --Andrea Korda, RACAR: revue d'art canadienne, "Through its impressive command of the corpus of late nineteenth-century art criticism and its convincing articulation of the importance of temporality as an analytical and historical category, Realism in the Age of Impressionism is...an important contribution to nineteenth-century French art history."--Samuel Raybone, Art History, " Realism in the Age of Impressionism represents a major intervention in understandings of late nineteenth-century art, making newly apparent the significance of the late realist or naturalist work. . . a compelling account."--Alex Potts, H-France Review, "Amid the endless stream of images that come our way as part of the twenty-?rst-century visual economy, Young's book provides a lesson in the value of slow looking." --Andrea Korda, RACAR: revue d'art canadienne, "[Young's] readers are always thought provoking; like the book as a whole, they challenge readers to look at art as complex historical evidence and in so doing to reconfigure our understandings of historical duration and the politics of time."--Daniel Sherman, Journal of Modern History, "A highly original study based on impeccable and relentless scholarship."--Michael Fried, Johns Hopkins University, "Through its impressive command of the corpus of late nineteenth-century art criticism and its convincing articulation of the importance of temporality as an analytical and historical category, Realism in the Age of Impressionism is . . . an important contribution to nineteenth-century French art history."--Samuel Raybone, Art History "Young brings to bear a remarkable knowledge of the contemporary critical literature. . . . [The book's chapters] introduce a young scholar of rare penetration."--Christopher Riopelle, Art Newspaper "A fantastic book."--Mary Hunter, CAA Reviews "[Young's] readers are always thought provoking; like the book as a whole, they challenge readers to look at art as complex historical evidence and in so doing to reconfigure our understandings of historical duration and the politics of time."--Daniel Sherman, Journal of Modern History Won an honorable mention for the 2016 Robert Motherwell Book Award given by the Dedalus Foundation. "Young's total saturation in, and mastery of, the extremely rich body of contemporary art criticism enables him to recreate, to a remarkable degree, the reception of his chosen paintings by the most informed and sophisticated viewers of the time. The richness of 19th-century French art criticism is a gift to the historian, but only a handful of scholars have made the most of it; T. J. Clark, Martha Ward, Marc Gotlieb, and Stephen Bann come at once to mind, and Young in this book joins their rather exclusive club."--Michael Fried, Johns Hopkins University "What emerges is a very unusual bringing together of what is usually dealt with separately, by those dedicated to different methodological frameworks: a Marxist-inspired social history of art as exemplified in the work of T.J. Clark, versus a Friedian phenomenology of "absorption and theatricality," and their different ways of combining an address to both form and content, facture and iconography. Thus Marnin Young's text manages to nuance and complicate very usefully all the existing narratives of this period of 'avant-garde' art as well as the standard divisions in art historical methodology associated with it."--Carol Armstrong, Yale University, "This very original text concerns a fascinating interplay between several questions never before addressed in quite this way: the continuing appeal of the Realist paradigm during and after the heyday of Impressionism; the models of pictorial temporality suggested by Impressionist facture and instantaneity on the one hand, and by Realist genres of subject-matter on the other hand; and the opposing temporalities of the working class and the bourgeoisie."--Carol Armstrong, Yale University, "Young's total saturation in, and mastery of, the extremely rich body of contemporary art criticism enables him to recreate, to a remarkable degree, the reception of his chosen paintings by the most informed and sophisticated viewers of the time. The richness of 19th-century French art criticism is a gift to the historian, but only a handful of scholars have made the most of it; T. J. Clark, Martha Ward, Marc Gotlieb, and Stephen Bann come at once to mind, and Young in this book joins their rather exclusive club."--Michael Fried, Johns Hopkins University, "Young's total saturation in, and mastery of, the extremely rich body of contemporary art criticism enables him to recreate, to a remarkable degree, the reception of his chosen paintings by the most informed and sophisticated viewers of the time. The richness of 19th-century French art criticism is a gift to the historian, but only a handful of scholars have made the most of it; T. J. Clark, Martha Ward, Marc Gotlieb, and Stephen Bann come at once to mind, and Young in this book joins their rather exclusive club."--Michael Fried, Johns Hopkins University
Illustrated
Yes
Dewey Decimal
709.03/4
Synopsis
The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-Fran ois Raffa lli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young's highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art., The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-François Raffaëlli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young's highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art.
LC Classification Number
ND547.5
Item description from the seller
Seller feedback (3,663)
- Automatische feedback van eBay- Feedback left by buyer.Past monthBestelling voltooid - getrackt en op tijd
- l***n (586)- Feedback left by buyer.Past monthVerified purchaseItem as described, great pricing, good packaging and fast shipping. Easy to do business with, thank you!
- l***9 (75)- Feedback left by buyer.Past monthVerified purchaseClean transaction