Impression [videorecording] : painting quickly in France, 1860-1890.

Contributor(s): Art Institute of Chicago | National Gallery (Great Britain).

Material type: materialTypeLabel

Visual materialPublisher: [Chicago] : Art Institute of Chicago, [2000?]Description: 1 videocassette (22 min.) : sd., col.; 1/2 in.ISBN: 1857099214.Subject(s): Impressionism (Art) -- France

| Painting, French -- 19th century

DDC classification: 759.054

Production Credits: Writer/narrator, Kathleen Adler.

Summary: The "point" of Impressionist art was to capture the fleeting moment, the transient effect of a certain place, person, or time. Impressionist artists worked on-site with speed and directness, hoping to distinguish their works with a new freshness, immediacy, and truthfulness. Yet the paintings they exhibited were in fact almost always completed in the studio later. This beautifully illustrated book investigates for the first time the works that might truly be called "Impressions" paintings that appear to be rapid transcriptions of shifting subjects but were nonetheless considered finished by their makers. Focuses attention on the role played by speed of execution in the origins and development of the Impressionist movement.

Holdings ( 1 )
Title notes ( 6 )

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode	Item holds
General Lending	MTU Crawford College of Art and Design Library Video	759.054 (Browse shelf(Opens below))	1	Available		00228382

Total holds: 0

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	759.054 Impression painting quickly in France, 1860-1890.	CCAD VIDEO 001 Romantic versus classic art 1 Jacques-Louis David, Giambattista Piranesi and Henry Fuseli (morality and fear) /	CCAD VIDEO 002 Romantic versus classic art 2 the art of Blake and Goya (visions and nighmares) /	CCAD VIDEO 003 Romantic versus classic art 3 Jean-Auguste Dominique Ingres (the high priest of purity) /	Next

Enhanced descriptions from Syndetics:

This stunning Pocket Guide discusses the origins, techniques, and development of the Impressionist movement. Kathleen Adler explains why Impressionist artists made a radical departure from the great biblical and mythological narratives that flourished in European art for centuries before them, what technical developments in canvases and oil paints facilitated their painting, and how critics responded to their work.

Title from cassette label.

Produced in association with the exhibition of the same name by the National Gallery, London.

Writer/narrator, Kathleen Adler.

The "point" of Impressionist art was to capture the fleeting moment, the transient effect of a certain place, person, or time. Impressionist artists worked on-site with speed and directness, hoping to distinguish their works with a new freshness, immediacy, and truthfulness. Yet the paintings they exhibited were in fact almost always completed in the studio later. This beautifully illustrated book investigates for the first time the works that might truly be called "Impressions" paintings that appear to be rapid transcriptions of shifting subjects but were nonetheless considered finished by their makers. Focuses attention on the role played by speed of execution in the origins and development of the Impressionist movement.

VHS.