Synopses & Reviews
Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cand#233;zanne's painting. He shows how Cand#233;zanne's style met the emerging criteria of a "technique of originality" and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cand#233;zanne and his critics, Shiff considers the problem of modern art in general. He locates the core of modernism in a dialectic of making (technique) and finding (originality). Ultimately, Shiff provides not only clarifying accounts of impressionism and symbolism but of a modern classicism as well.
Table of Contents
List of Illustrations
Acknowledgments
Preface
Part One - The End of Impressionism
1. Introduction: The Subjectivity of Impressionism
2. Defining "Impressionism" and the "Impression"
3. Impressionism, Truth, and Positivism
4. The Subject/Object Distinction, Critical Evaluation, and Technical Procedure
5. Impressionism and Symbolism as Modes of Artistic Expression
Part Two - The Technique of Originality
6. Introduction: Matisse and Origins: Impressionism as "Modernism": Making and Finding
7. Academics and Independents: Theories of Making and Theories of Finding
8. Corot, Monet, Cand#233;zanne, and the Technique of Originality
9. Bernard and Denis Meet Cand#233;zanne: Classical Tradition without Technical Convention
10. Roger Fry: Found Vision and Made Design
Part Three - Seeing Cand#233;zanne
11. Introduction: "Postimpressionism" and Expression
12. Cand#233;zanne Legend
13. The Poussin Legend
14. Did Cand#233;zanne Have a Theory?
15. Cand#233;zanne's Practice
Part Four - Conclusion: Making a Find
Making a Find
Notes
Index