Impressionism: A Feminist Reading: the Gendering of Art, Science, and Nature in the Nineteenth Century

By Norma Broude | Go to book overview
Aquado, Count Olympe, 36

Ile des Ravageurs, Meudon, 36

Aristotle, 145
art:
binary thinking in, 10, 11, 12-13, 14, 16, 19, 20, 41, 143, 145, 149-150, 177
gendered relation between nature, science and, 14, 16, 143, 145-158, 161-162, 163-165, 167, 173, 175, 176, 177-178, 179
science and, 110, 114-123, 134, 137, 143, 144, 145, 161, 179
Aurier, Albert, 160-161, 165, 178
Bacon, Francis, 112, 146, 148, 164, 179

Masculine Birth of Time, The, 146

Barbizon school, 9, 30, 34, 35, 40, 41, 43, 53, 55, 57, 70, 127, 136, 151, 171
Barrias, Louis Ernest, 147, 147

Nature Unveiling Herself Before Science, 147, 147

Baudelaire, Charles, 54, 149, 150-151
Bazalgette, Léon, 167
Bazille, Jean-Frédéric, 43, 65, 68, 71-72, 74
Beauvoir, Simone de, 174
Berkeley, George, 132
Bernard, Claude, 113, 173
Blake, William, 115, 120
Blanc, Charles, 14, 70, 139, 143
Boime, Albert, 31, 79
Bordo, Susan, 154
Boudin, Eugène, 41-42, 42, 64, 68, 151

Beach at Trouville, 42

Bourget, Paul, 165-166

Disciple, Le, 165-166

Bowness, Alan, 57, 64
Brücke, Ernst Wilhelm von, 113, 143
Burty, Philippe, 28, 29, 34-35
Carus, Carl Gustav, 120-121
Cassatt, Mary, 155, 156, 157

Woman and Child Driving, 156, 157

Castagnary, Jules, 28, 121
Cézanne, Paul, 159, 160, 163
Champa, Kermit, 8, 55
Chesneau, Ernest, 35
Chevreul, Eugène, 116-117, 139
chiaroscuro, 30, 32, 33, 131 see alsoeffect; light
Clark, Kenneth, 32
Clark, T. J., 9, 172, 173
Clemenceau, Georges, 157, 166, 167-170, 171
Coleridge, Samuel Taylor, 119-120
color, 110, 130-131, 132, 135, 158
in Delacroix's works, 116-117, 139
in Impressionist works, 124, 125-126, 127, 131, 138, 139, 167
in Monet's works, 169
in Neo-Impressionist works, 138-141
Newton and, 114, 115, 126
Rousseau on, 35
in Turner's works, 33, 63
Comte, Auguste, 121, 143, 153-154, 173

see alsopositivism

Constable, John, 17, 23-24, 31-33, 57, 61, 62, 65, 117-119, 120, 127
Cloud Study, 118, 119
Haywain, The, 57, colorplates 16, 17
Weymouth Bay, colorplate 12
Corot, Jean-Baptiste- Camille, 17, 37-41, 53, 57, 62, 64, 65, 73, 74, 79
Daubigny Working on His "Botin" near Auvers-sur- Oise, 52
Harbour of La Rochelle, The, colorplate 19
Souvenir of Mortefontaine, 40
Courbet, Gustave, 16, 121, 122, 125
Daubigny, Charles François, 17, 41-42, 50-57, 64, 70
Artist in His Floating Studio, 52
Landscape near Pontoise, 56, 57
Monet influenced by, 50-53, 56, 57, 64, 68
Portjoie on the Seine, 53
River Scene near Bonnières, colorplate 25
Thames at Erith, The, 60
View of the Crystal Palace Park in London, 59
Windmills at Dordrecht, 62, 64
working methods of, 53-54, 55, 64, 69-71
Degas, Edgar, 15, 125, 128, 128, 130, 151

Portrait of Diego Martelli, 128

De Kooning, Willem, 175

Woman I, 175

Delacroix, Eugène, 41, 117, 122, 149, 150, 150, 176, 177
color as used by, 116-117, 139
Death of Sardanapalus, 149, 150
sketches of, 70-71
Taking of Constantinople by the Crusaders, 116-117, 117
Descartes, René, 146
Dewhurst, Wynford, 57-63
Duncan, Carol, 174-175
Durand-Ruel, Paul, 56-57, 64, 78
Duranty, Edmond, 124-127, 128, 133, 134, 167-168
Dürer, Albrecht, 147, 148

Artist and Model: Demonstration of Perspective, 147, 148

Duret, Théodore, 13, 17
Easlea, Brian, 16, 146
Effect, 28-68, 69, 128, 130
defined, 30
finish vs., 69-80
impression vs., 30-31
see also pochades
emotion, 28-68, 69, 70, 80, 120, 134, 153
English landscape school, 57-64, 65
Ephrussi, Charles, 134
Fattori, Giovanni, 130, 130

Diego Martelli at Castiglioncello, 57

Fénéon, Félix, 75, 138-139, 140, 142
figurative painting, 9, 15, 178

landscape painting vs., 150-151, 176

Foucault, Michel, 14-15, 160, 176
France, Anatole, 10, 166
Friedlaender, Walter J., 10, 14

David to Delacroix, 10

Friedrich, Caspar David, 17, 18-20, 21, 23, 27, 65, colorplate 8
Chalk Cliffs on Rügen, 19-20, colorplate 8
Stages of Life, The, 21
Village Landscape in the Morning Light ("The Solitary Tree"), 27
Fry, Roger, 8-9, 10, 162, 170
Gage, John, 33
Garb, Tamar, 151, 152
Garrard, Mary D., 147
Gauguin, Paul, 160, 161
Gautier, Théophile, 17, 54
Geffroy, Gustave, 11, 43, 75, 163, 166, 167
Géricault, Théodore, 116, 116
Insane Woman, The (Monomanie de L'Envie), 116
Portraits of the Insane, 116
Gillet, Louis, 169
Goethe, Johann Wolfgang von, 111, 120, 132
Gogh, Vincent van, 22, 160, 161, 176-177
Greenberg, Clement, 11, 175-176, 177-178
Hamerton, P. G., 70
Hamilton, George Heard, 11-12, 28, 145
Hareux, Ernest, 69
Helmholtz, Hermann von, 10, 113, 132, 133, 134, 143, 173
Henriet, Frédéric, 53, 54, 55
Henry, Charles, 134
Herbert, Robert, 9, 13, 20, 21, 79
Honour, Hugh, 120
Imbriani, Vittorio, 30
Impressionism, Impressionist works:
color in, 124, 125-126, 127, 131, 138, 139, 167
composition in, 155-157, 158
effect and emotion in, 28-68
effect vs. finish in, 69-80
entrepreneurs' collecting of, 171-172, 174
formalist view of, 8-9, 18
light in, 125-126, 127, 130, 167-168, 169
nature and, 69, 110, 151, 156-157, 158, 161, 162, 163, 172, 179
outdoor painting in, 28, 29, 69, 124, 127
paint surface and brushwork in, 11, 73, 74, 79, 80, 151, 152
Romanticism as opposed to, 8, 9-10, 11, 14, 18, 110, 125-126, 144, 145, 177
Romantic roots of, 10, 15, 18-24, 31, 69, 70, 110, 127, 136, 137, 143, 158
scientific realism as reputed objective of, 8-9, 10-11, 12, 13-14, 15-16, 31, 65, 110-143, 144, 145, 158, 160, 162, 163-164, 167, 168-171, 173, 174, 179

-190-

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