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A new and original interpretation of Impressionism and nineteenth-century art and culture by a noted feminist art historian.

This book is a pioneering reading of Impressionism from a feminist perspective by a noted art historian. Norma Broude analyzes the philosophical underpinnings of landscape ...

A new and original interpretation of Impressionism and nineteenth-century art and culture by a noted feminist art historian.

This book is a pioneering reading of Impressionism from a feminist perspective by a noted art historian. Norma Broude analyzes the philosophical underpinnings of landscape painting in the late nineteenth century discussing the critical misconceptions attached to Impressionism, in particular the work of Monet. She explores the theory of Romanticism and the historiography of Impressionism as well as scientific writings of the nineteenth century. The book challenges present art historical thinking, applying feminist critiques to the art, literature, and philosophy of the nineteenth century.

"An original and provocative book with brilliant flashes of insight into Impressionism's relationships to Romanticism, science, and Modernism". Marilynn Lincoln Board Women's Art Journal

As art critic for The New Republic, Jed Perl is renowned for combining a passion for art and a skepticism about the current art establishment with an ability to write about art in the context of our larger culture. In this collection of essays, including two written especially for this book, he ...

As art critic for The New Republic, Jed Perl is renowned for combining a passion for art and a skepticism about the current art establishment with an ability to write about art in the context of our larger culture. In this collection of essays, including two written especially for this book, he delivers a brilliant mixture of first-rate art criticism and politically informed insight into the true workings of the American art world.

Perl offers incisive analysis into the marketing mentality that dominates today's museums, the poverty of academic criticism, and the changing expectations of the gallery-going public. He re-evaluates the old masters, and turns an avid, unprejudiced eye on the works of his contemporaries. He laments the collapse of a gallery culture that once allowed artists to develop slowly, and argues for a radical reassessment of the way art is presented to -- and is viewed by -- the public.