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From Paris: A Taste for Impressionism: Paintings from the Clark

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Moffett, Charles S. (1986). "The New Painting, Impressionism 1874–1886". Geneva: Richard Burton SA. French, British nineteenth-century art; Collecting and Art Market; Networks and Artists' Colonies; Celtic Revival and northern identity; American Gilded Age. Many vivid synthetic pigments became commercially available to artists for the first time during the 19th century. These included cobalt blue, viridian, cadmium yellow, and synthetic ultramarine blue, all of which were in use by the 1840s, before Impressionism. [25] The Impressionists' manner of painting made bold use of these pigments, and of even newer colours such as cerulean blue, [4] which became commercially available to artists in the 1860s. [25]

Up in the Bridges, the Talbot Rice Gallery has a show by London-based Céline Condorelli, where art meets architectural history. A leafy indoor garden refers to Brazilian modernism, an installation of words and photos reveals the untold story of houseplants in famous exhibitions (Rousseaus alongside cheese plants, for instance), another of words and prints relates to the labour history of the Pirelli tyre factory in Turin. Look at these heads looking at you and the urge is to go straight home and try to make one yourself Taste fo Professor Frances Fowle, Senior Curator of French Art at the National Galleries of Scotland, said: “The Impressionist era is one of the most compelling periods in art history. It gave rise to a host of artists who are now considered among the very best, despite being largely dismissed by the establishment of their time. A large number of early collectors of Impressionism were women, including the champion yachtswoman Elizabeth Workman, who was brought up in Helensburgh. Described by the artist Percy Wyndham Lewis as ‘one of the only people in England to understand French art’ her reputation as a collector has been overshadowed by men such as Samuel Courtauld, who created a dedicated museum in his own name.

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According to the exhibition’s argument, which is based on recent research conducted in the Durand-Ruel family archives, Durand-Ruel did not create Impressionism – that, of course, was the achievement of the artists themselves. But he did discover the movement and bring it to universal attention. In other words, he was responsible for branding and promoting Impressionism. Without him, the movement wouldn’t be the popular juggernaut it is today. Colours are applied side by side with as little mixing as possible, a technique that exploits the principle of simultaneous contrast to make the colour appear more vivid to the viewer. National Treasure: The Scottish Modern Arts Association is at City Art Centre, Edinburgh, until 16 October

Frances is lead editor of a four-volume anthology of primary sources on Scottish Art in the Industrial Age, c.1800-1914, commissioned by Routledge for their Historical Resources series.

Denvir, Bernard (1990). The Thames and Hudson Encyclopaedia of Impressionism. London: Thames and Hudson. ISBN 0-500-20239-7 The California Impressionists, including William Wendt, Guy Rose, Alson Clark, Donna N. Schuster, and Sam Hyde Harris. Colourful and vibrant illustrations help tell the fascinating stories of how key paintings and drawings found their way into Scotland’s national collection. A vibrant, colourful and beautiful book that introduces readers to Impressionism and Post-Impressionism and to some of the earliest Scottish collectors to buy modern French art.

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