000			03393nam a2200493 4500
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005			20230515143041.0
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020			_a9781857096958 _qhardback
020			_a1857096959 _qhardback
100			_aStevens, Mary Anne _ecurator _920728
245			_aAfter Impressionism : _binventing modern art / _cMaryAnne Stevens ; with contributions by Maria Alambritis [and seven others].
260			_aLondon : _bNational Gallery Global ; _bYale University Press, _c2023
300			_a272 pages : _bcolor illustrations ; _c28 cm.
500			_aPublished on the occasion of the exhibition held at the National Gallery, London, 25 March - 13 August 2023.
504			_aIncludes bibliographical references and index.
505			_tAfter Impressionism: inventing modern art / _rMaryAnne Stevens
505			_tA volcanic crater: the entanglement of avant-garde art and literature, 1886-1914 / _rChristopher Riopelle
505			_t'Je ne suis homme, ni femme, je suis moi': women artists of the avant-garde, 1900-14 / _rMaria Alambritis
505			_tAppropriating the 'Primitive': Modernism's debut to non-Western art / _rJulien Domercq
505			_tOn the periphery? British artists and the European avant-garde, 1886-1914 / _rCharlotte de Mille
505			_tParis / _rMaryAnne Stevens
505			_tBrussels / _rMaryAnne Stevens
505			_tBarcelona / _rDaniel Sobrino Ralston
505			_tBerlin / _rCamilla Smith
505			_tVienna / _rSabine Wieber
505			_tNew terrains / _rJohn Milner
520			_aThrough the 1880s the very essence of representation, meaning and process in Western art were profoundly interrogated. Plausible representations of the external world were cast aside in favour of non-naturalism expressed in varying degrees, from modest distortions of reality to pure abstraction. The decades that followed, up to the outbreak of the First World War in 1914, were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation. Concentrating on this period of great upheaval, this book will explore the constructive dialogue between painting and sculpture, and the influential roles played by three giants of the era, Paul Cézanne, Paul Gauguin and Vincent van Gogh, across European art as a whole. While acknowledging the centrality of Paris as a cultural capital, it will also uniquely highlight other centres of artistic ferment in Europe, from Brussels and Barcelona to Berlin and Vienna, and track the variety of routes into modernism in the early twentieth century.
650			_aImpressionism (Art) _vExhibitions _940104
650			_aModernism _vExhibitions _940105
650			_aArt, Modern _y19th century _vExhibitions _940106
650			_aArt, Modern _y20th century _vExhibitions _940107
700			_aSchofield, Linda _eeditor _940108
700			_aAlambritis, Maria _econtributor _940109
700			_aDe Mille, Charlotte _econtributor _940110
700			_aDomercq, Julien _econtributor _940111
700			_aMilner, John, _d1946- _econtributor _940112
700			_aRalston, Daniel Sobrino _econtributor _940113
700			_aRiopelle, Christopher _econtributor _921783
700			_aSmith, Camilla _econtributor _940114
700			_aWieber, Sabine _econtributor _940115
710			_aNational Gallery (Great Britain) _ehost institution _915141
942			_2ddc _cBOOK
999			_c27179 _d27179