Description: The etchings Auguste Lauzet made for LArt impressioniste daprs la collection prive de M. Durand-Ruel are his most important work as an etcher. I present them here, grouped alphabetically by artist, with minimal commentary. All works are etchings or drypoints by Lauzet, all published in 1892, and all printed on cream laid paper, in various shades of ink: various browns, some in black, some in sanguine, one in a blue-grey. Ive tried to trace where these paintings currently reside, but have had mixed luck; any help from my readers will be much welcomed. By the time he died in 1922, Paul Durand-Ruel had established Impressionism as the key modern art movement, but it took fifty years of steadfast support, and the taking of breathtaking financial risks, to do so. Without him, life for the Impressionist artists would have been much harder; I feel there is a real historical importance to the _auzet etchings as a record of which paintings, by which artists, he attached personal importance to At a glance you can see that for Durand-Ruel the key Impressionists were Monet, Pissarro, Renoir and Degas, with Manet included in the group by default, even though he never exhibited with them. Sisley seems a bit of an afterthought, with only two works illustrated. There's nothing by Guillaumin nothing by Czanne, and of the female Impressionists just two works by Cassatt, with nothing by Morisot, Gonzals, or Marie Bracquemond. The balance has shifted somewhat from 1873 when Durand-Ruel published his Receuil d'estampes. In this, the three younger artists who are championed -anointed, as it were, as the leaders of the new art -are Monet, Sisley, and Pissarro, In the introduction by the critic Armand Silvestre, Monet is picked out as "le plus habile et le plus os", the ablest and the most daring of the group. The year before the First Impressionist Exhibition, Durand-Ruel is already promoting these three artists as important innovators, and Silvestre is already writing about their art with real insight and sensitivity. In Monet's handling of water, for instance, Silvestre particularly admires the way "des tons mtalliques dus au poli du flot qui clapote par petites surfaces unies miroitent sur ses toiles"-the metallic tones of the shimmering flow, lapping in small discrete surfaces i.e. blocks of colour, or brushstrokes], sparkle on his canvases. Here is Impressionism described before the term was coined, and described with wholehearted approval. Silvestre loves the way their paintings are flooded with light, and the way they evoke beloved landscapes rather than describe them. I've argued before, in my post on Armand Guillaumin, that critical reaction to the art of the Impressionists was by no means as uniformly negative as is usually assumed; Armand Silvestre's tender appreciation of the art of Monet, Sisley, and Pissarro is another example of a sympathetic response to the Impressionist aesthetic. There is an interesting and refreshingly jargon-free thesis on Durand-Ruel and the Impressionists by Marci Regan here for those who want to know more.
Price: 195000 USD
Location: Peoria, Arizona
End Time: 2024-09-02T14:15:06.000Z
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Return shipping will be paid by: Buyer
All returns accepted: Returns Accepted
Item must be returned within: 14 Days
Refund will be given as: Money Back
Artist: Edouard Manet
Type: etching
Year of Production: 1982
Subject: Venice
