Save
Save chapter to my Bookmarks
Cite
Cite this chapter
Print this chapter
Share
Share a link to this chapter
Free
Description: The Art of Impressionism: Painting Technique and the Making of Modernity
Select Bibliography
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00125.017
View chapters with similar subject tags
Selected Bibliography
Adams, S., and A. Greutzner Robins, Gendering Landscape Painting, Manchester, 2000
Adeline, J., Lexique des termes d’art, Paris, 1883
Adler, K. and T. Garb, Berthe Morisot, Oxford, 1987
André, Albert, Renoir, Paris, 1919
Annales, Bulletin du Laboratoire des Musées de France
Annuaires de commerce, Paris
Annuaires général du commerce, Paris
Anon., The Excellency of Pen and Pencil, London, 1688
Anquetin, Louis, De l’art [1920s], ed. and annotated by Camille Versini, Paris, 1970
Arnheim, R., Art and Visual Perception, Berkeley, Los Angeles and London, 1974
Arsenne, Louis-Charles, Manuel du peintre et du sculpteur, ouvrage où on traite de la philosophie de l’art et des moyens pratiques, ‘Manuels Roret’, Paris, 1833
Autoportraits de Courbet, Les Dossiers du Département des Peintures, no. 6, exh. cat., Paris, 1973
Bailly-Herzberg, J., Correspondance de Camille Pissarro, 2 vols., Paris, 1980, 1986.
Barrell, J., The Political Theory of Painting from Reynolds to Hazlitt:The Body of the Public’, New Haven and London, 1986
Barthes, R., ‘The Death of the Author’ (1968), trans. in R. Barthes, Image, Music, Text, ed. S. Heath, London, 1977
Battersby, C., Gender and Genius: Towards a Feminist Aesthetics, London, 1989
Baudelaire, Charles, ‘The Painter of Modern Life’ (1859) 1863; reprinted in The Painter of Modern Life, and Other Essays, ed. J. Mayne, London, 1964
Baudelaire, Charles, Art in Paris 1845–1862, trans. and ed. J. Mayne, London, 1965
Bazaar Parisien, Paris
Bazin, Germain, Corot, Paris, 1973
Bellanger, Camille, Le Peintre: Traité usuel de peinture à l’usage de tout le monde, Paris, 1898
Benjamin, A., ed., Journal of Philosophy and the Visual Arts, special issue: The Body, London and Berlin, 1993
Benjamin, W., Charles Baudelaire, Lyric Poet in the Era of High Capitalism, London, 1985
Berman, M., ‘All That is Solid Melts into Air’: The Experience of Modernity, London, 1983
Bernard, Emile, ‘Paul Cézanne’, L’Occident, July 1904
Bernard, Emile, ‘Julien Tanguy’, Mercure de France, 16 December 1908
Berson, R., The New Painting: Impressionism 1874–1886: Documentation, 2 vols., San Francisco, 1989
Binant catalogue, 1892
Blanc, Charles, ‘Salon de 1866’, Gazette des Beaux-Arts, June/July 1866
Blanc, Charles, Grammaire des arts du dessin, Paris, 1867
Blockx, Jacques (fils), Compendium du peintre, 1892
Boime, A., The Academy and French Painting in the Nineteenth Century, Oxford, 1971
Boime, A., ‘Entrepreneurial Patronage in Nineteenth-Century France’, in E. C. Carter, R. Foster and J. M. Moody, eds., Enterprise and Entrepreneurs in Nineteenth and Twentieth Century France, Baltimore, 1976
Bois, Y.-A., ‘Exposition: Esthétique de la distraction, espace de démonstration’, Les Cahiers du Musée National d’Art Moderne, no. 29, 1989
Bomford, D., J. Kirby, J. Leighton and A. Roy, Art in the Making: Impressionism, New Haven and London, 1990
Bottin, Paris
Bourgeois aîné, catalogues, Paris, 1888, 1890, 1896, 1904, 1906
Bourgeois aîné, book of canvas samples, Paris, c. 1906, private collection
Bouvier, Joseph, A Handbook for Oil Painting, London, 1885
Bouvier, Pierre-Louis, Manual des jeunes artistes et amateurs en peinture, Paris, 1827, and New York, 1845
Bowlby, R., Just Looking: Consumer Culture in Dreiser; Gissing and Zola, New York, 1985
Bracquemond, Félix, Du dessin et de la couleur, Paris, 1885
Breton, Jules, La peinture, Paris, 1904
Brettell, R., ed., A Day in the Country: Impressionism and the French Landscape, New York, 1984
Brookner, A., The Genius of the Future, London and New York, 1971
Bruce-Gardiner, R., G. Hedley and C. Villers, ‘Impressions of Change’ in Impressionist and Post-Impressionist Masterpieces: The Courtauld Collection, New Haven and London, 1987
Brücke, E., Principes scientifiques des Beaux-Arts, French trans., Paris, 1878, bound with H. Helmholtz, L’Optique et la peinture
Buck, R., ‘Stretcher Design, A brief preliminary survey’, n.d., unpublished report, Intermuseum Laboratory, Allen Art Building, Oberlin, Ohio
Buck-Morss, S., The Dialectics of Seeing: Walter Benjamin and the Arcades Project, Cambridge, Massachusetts and London, 1997
Burgoyne, I., and R. Scoble, Two Thousand Years of Flat Glass Making, Pilkington Brothers, St Helens, 1996
Burty, Philippe, ‘Exposition de la société anonyme des artistes’, La République française, 25 April 1874
Burty, Philippe, ‘Exposition des œuvres des artistes indépendantes’, La République française, 10 April 1880
Butler, M., ‘Technical Note’, in Paintings by Renoir, Chicago, 1973
Cabasson (Maison) catalogue, 1859
Cahn, I., ‘Edgar Degas: Gold or Colour’, in Mendgen (ed.) 1995
Cahn, I., ‘Les cadres impressionnistes’, La Revue de l’art, vol. 76, 1987
Cahn, I., Les cadres de peintres, Paris, 1989 [1989A]
Cahn, I., ‘Degas’s Frames’, Burlington Magazine, CXXXI, 1989 [1989B]
Calhoun, C., ed., Habermas and the Public Sphere, Cambridge, Massachusetts, 1992
Callen, A., Renoir, London, 1978
Callen, A., ‘Artists’ materials and techniques in nineteenth-century France’, unpublished PhD thesis, University of London, 1980
Callen, A., Techniques of the Impressionists, London, 1982
Callen, A., ‘Impressionist Techniques and the Politics of Spontaneity’, in Art History, vol. 14, no. 1, December 1991
Callen, A., ‘Coloured Views: Gender and Morality in Degas’s Bathers Pastels’, in Benjamin (ed.) 1993 [1993A]
Callen, A., ‘Immaterial Views? Science, Intransigence and the Female Spectator of Modern French Art in 1879’, in Rigby (ed.) 1993 [1993B]
Callen, A., ‘Renoir: The Matter of Gender’, in House 1994 [1994A]
Callen, A., ‘The unvarnished truth: mattness, “primitivism” and modernity in French painting c. 1870–1907’, The Burlington Magazine, vol. CXXXVI, November 1994 [1994B]
Callen, A., The Spectacular Body: Science, Method and Meaning in the Work of Degas, New Haven and London, 1995
Callen, A., ‘Technique and Gender: Landscape, Ideology and the Art of Monet in the 90s’, in Adams and Greutzner Robins 2000
Camille Pissarro 1830–1903, exh. cat., Hayward Gallery, London, 1980
‘The Care of Paintings: Fabric Paint Supports’, Museum, vol. XIII, no. 3, 1960
Carlyle, L., ‘A Critical Analysis of Artists’ Handbooks, Manuals, and Treatises on Oil Painting published in Britain between 1800 and 1900’, unpublished PhD thesis, University of London, 1991
Carlyle, L., and J. Bourdeau, eds., Varnishes: Authenticity and Permanence, Ottawa, 1994
Carson Webster, J., ‘The Technique of Impressionism. A Reappraisal’, College Art Journal, November 1944
Castagnary, Jules Antoine, ‘L’exposition du Boulevard des Capucines’, Le Siècle, 29 April 1874
Castagnary, Jules Antoine, Salons, 2 vols., Paris, 1892
Cavé, Elisabeth, La Couleur, Paris, 1833
Cennini, Cennino d’Andrea, Il Libro dell’ Arte: trans. as Le Livre d’art ou traité de la peinture par Cennini, trans. Victor Mottez, Paris, 1858; Le Livre de l’art ou traité de la peinture, trans. Victor Mottez, Paris, 1911, new edition prefaced by Renoir’s ‘Lettre à M. Henri Mottez’; The Craftsman’s Handbook, trans. D. V. Thompson Jnr., New York, 1933 (reprinted Dover, n.d.)
Cent ans de l’impressionnisme, Paris, Galeries Durand-Ruel, 1974
Cézanne, exh. cat., Tate Gallery, London, 1996
Cézanne, Paul, Correspondance, ed. J. Rewald, Paris, 1937
Chardin, 1699–1779, exh. cat., Grand Palais, Paris, 1979
Chevreul, Michel-Eugène, De la loi du contraste simultané des couleurs, et de l’assortiment des objets colorés, 2 vols, (text and plates), Paris, 1839, reprinted 1889
Christiansen, K., ‘Some Observations on Mantegna’s painting technique’, in Andrea Mantegna, ed. J. Martineau, London, 1992
Church, A. H., Colour: An Elementary Manual for Students (1871), revised edn., London, n.d. (c. 1910)
Clark, T. J., Image of the People: Gustave Courbet and the 1848 Revolution, London, 1973
Clark, T. J., The Painting of Modern Life: Paris in the Art of Manet and his Followers, London, 1984
‘A Classification of Handloom Fabrics’, The Pennsylvania Museum Bulletin, vol. xx, Nov. 1924
Clément, Charles, Géricault, étude biographique et critique, Paris, 1868
Collins, B. R., ed., 12 Views of Manet’s ‘Bar’, Princeton, New Jersey, 1996
Conisbee, P., ‘Pre-Romantic plein air painting’, Art History, vol. 2, no. 4, December 1979
Cooper, D., Impressionnistes de la collection Courtauld de Londres, Musée de l’Orangerie, Paris, 1955
Couture, Thomas, Méthode et entretiens d’atelier, Paris, 1867
Couture, Thomas, Paysage: entretiens d’atelier, Paris, 1869
Crary, J., Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Cambridge, Massachusetts and London, 1992
Cuyer, Edouard, Le dessin et la peinture, Paris, 1893
Daulte, F., Frédéric Bazille et son temps, Geneva, 1952
Daulte, F., Alfred Sisley, Lausanne, 1959
Davies, M., National Gallery Catalogues: French School, London, 1970
De la Rie, René, ‘The Influence of Varnishes on the Appearance of Paintings’, Studies in Conservation, vol. 32, 1987
De Lairesse, Gérard, Les principes du dessin, Amsterdam, 1719
De Lasalle, R., Manuel complet et simplifié de la peinture à l’huile, Paris, 1856
De Piles, Roger, Elémens de peinture pratique, Paris, 1684, and edition of 1764
De Trévise, Duc, ‘Le Pèlerinage de Giverny’, Revue de l’art ancien et moderne, Paris, January–February 1927
De Valenciennes, Pierre-Henri, Elémens de perspective pratique, Paris, 1800; 2nd edn., 1820
De Valenciennes, Pierre-Henri, ‘Reflexions’, in Elemens de perspective pratique, Paris, 1800
Delacroix, Eugène, Journal de Eugène Delacroix, Paris, 1932, 3 vols.
Delbourgo, S., and J. P. Rioux, ‘Contribution à l’étude de la matière des impressionnistes’, in ‘Manière et matière des impressionnistes’, in Annales (Bulletin de la Laboratoire de Recherche des Musées de France), 1974
Denis, Maurice Théories, 1890–1910, 3rd edn., Paris, 1913
Deperthes, J.-B., Théorie de paysage, Paris, 1818
Diderot, Denis, and D’Alembert, Encyclopédie, 1765
Doerner, M., The Materials of the Artist, London, 1976
Dorbec, Prosper, L’Art du paysage en France, Paris, 1925
Dossie, Robert, Handmaid to the Arts, London, 1758
Drucker, M., Renoir, Paris, 1944
Druro, P., ed., The Rhetoric of the Frame, Cambridge, 1996
Du Fresnoy, Ch.-A., De Arte Graphica (1668); trans. Dryden, The Art of Painting, London, 1695
Ducrot, A., La peinture à l’huile et au pastel apprises sans maître: nouvelle méthode élémentaire et pratique accompagné d’études ébauchées et terminées . . ., Paris, 1858
Duparc, A., Correspondance de Henri Régnault, Paris, 1873
Duranty, Edmond, La Nouvelle peinture, Paris, 1876; original reprinted in full in Moffett 1986.
Duret, Théodore, Claude Monet, catalogue preface ‘La Vie Moderne’, Galeries Georges Charpentier, Paris, 1880
Duret, Théodore, Les peintres impressionnistes, Paris, 1878; part translated in Stuckey 1985
Duret, Théodore, Histoire des peintres impressionnistes, Paris, 1922
Eakins, Thomas, Philadelphia Museum of Art, 1982
Eastlake, Charles, Methods and Materials of Painting of the Great Schools and Masters, 2 vols.; reprinted New York, 1960.
Edlestein, T. J., ed., Perspectives on Morisot, New York, 1990
Eisenman, S. F., ‘The Intransigent Artist, or How the Impressionists got their Name’, in Moffett (ed.) 1986
Eisenman, S. F., Gauguin’s Skirt, London, 1997
Eitner, L., ed., Neo-classicism and Romanticism 1750–1850, 2 vols., New Jersey, 1970
Elder, Marc, Chez Claude Monet à Giverny, Paris, 1924
Emile-Mâle, G., Restauration des peintures de chevalet, Paris, 1976
Les Etablissements Lefranc, Paris, n.d. (1924?)
Equivoques: peintures française du XIXè siècle, Paris, 1973
Faillant-Dumas, L., ‘Etude au laboratoire de recherche des Musées de France’, in Gustave Courbet, Paris, 1977
Feller, R. L., ed., Artists’ Pigments: A Handbook of their History and Characteristics, vol. I, Washington, 1986
Fénéon, Félix, ‘La Vè exposition internationale chez Georges Petit: Claude Monet’, La vogue, Paris, June 1886, reprinted in Fénéon 1966
Fénéon, Félix, ‘Les cadres’, Bulletin de la vie artistique, 1 February 1922, reprinted in œuvres plus que complète, vol. I, Geneva, 1970
Fénéon, Félix, Au-delà de l’impressionnisme, Paris, 1966
Field, George, Chromatography: A Treatise on Colours and Pigments and of their Powers in Painting, London, 1835
Field, George, A Grammar of Colouring, London, 3rd edn., 1882
Fitzhugh, E. W., ed., Artists’ Pigments: A Handbook of their History and Characteristics, vol. 3, Washington, 1998
Flint, K., ed., Impressionists in England: The Critical Reception, London, 1984
Ford, B., ‘Letters of Jonathan Skelton written from Rome and Tivoli, 1758’, Journal of the Walpole Society, XXXVI, 1956–8
Foster, H., ed., Vision and Visuality, Seattle, 1988
Foucault, M., ‘What is an Author?’, 1969; reprinted in P. Rabinow, The Foucault Reader, Harmondsworth, 1986
Fourcade, D., ‘Autres propos de Henri Matisse’, Macula, no. 1, 1976
Frascina, F., N. Blake, B. Fer, T. Garb and C. Harrison, Modernity and Modernism: French Painting in the Nineteenth Century, New Haven and London, 1993
Fromentin, Eugène, Les maîtres d’autrefois (1876), Paris, 1965
Fuller, S., ‘Mary Cassatt’s use of Softground Etching’, Magazine of Art, vol. 43, 1950
Gachet, Paul, ed., Lettres impressionnistes au Docteur Gachet et à Mürer, Paris, 1957
Gage, J., Colour and Culture, London, 1993
Garb, T., “‘L’Art féminin”: the Formation of a Critical Category in Late Nineteenth-Century France’, Art History, vol. 12, no. 1, March 1989
Garb, T., ‘Berthe Morisot and the Feminising of Impressionism’, in Edelstein 1990
Gasquet, Joachim, Cézanne, Paris, 1921
Geffroy, Gustave, ‘Paul Cézanne’, La Vie artistique, hi, Paris, 1894
George Rowney, ‘Materials for Oil Painting’, bound with J. S. Templeton, A Guide to Oil Painting, Rowney & Co., London, n.d. (after June 1871)
Gettens R. J. and E. Fitzhugh, ‘Malachite and Green Verditer’ Studies in Conservation, vol. 19, 1974
Gettens, R. J., and G. L. Stout, Painting Materials: A Short Encyclopedia, New York, 1966
Gibson, J. J., The Senses Considered as Perceptual Systems, London, 1966
Gilloch, G., Myth and Metropolis: Walter Benjamin and the City, Cambridge, Massachusetts, and Oxford, 1996
Gimpel, René, Journal d’un collectionneur, marchand de tableaux, Paris, 1963
Gluck, H., The Dilemma of the Painter and Conservator in the Synthetic Age (1954 transcript), ed. C. H. Leback-Sitwell, Brighton, n.d. (1988?)
Goupil, Frédéric, Manuel complet et simplifié de la peinture à l’huile, Paris, 1858
Goupil, Frédéric, Manuel générale de la peinture à l’huile, Paris, 1877
Gowing, L., ‘Introduction’, Watercolour and Pencil Drawings by Cézanne, London, 1973
Gowing, L., ‘Introduction’, Painting from Nature, London, 1981
Grad, B. L. and T. A. Riggs, Visions of City and Country: Prints and Photographs of Nineteenth-century France, Worcester, Massachusetts, 1982
Green, N., The Spectacle of Nature: Landscape and Bourgeois Culture in Nineteenth-Century France, Manchester, 1990
Green, N., Théodore Rousseau, University of East Anglia, Norwich, 1982
Grosser, M., The Painter’s Eye, New York, 1963
Grunchec, P., The Grand Prix de Rome: Paintings from the Ecole des Beaux-Arts, Paris, 1793–1863, Washington, 1984
Guérin, Marcel, Lettres de Degas, Paris, 1945
Gustave Caillebotte: The Unknown Impressionist, exh. cat., Royal Academy, London, Ghent and Chicago, 1996
Gustave Courbet, 1819–1877, exh. cat., Grand Palais, Paris, 1977
Halévy, D., Degas parle, Paris, 1960; trans. as My Friend Degas, Middletown, 1964
Hamilton, G. H., Manet and his Critics, New York, 1969
Hareux, Ernest, Manuel pratique de la peinture à l’huile, Paris, 1888–9; vol. II, Paysages, marines
Hareux, Ernest, Cours complet de la peinture à l’huile, Paris, 1901
Hareux, Ernest, La Peinture à l’huile en plein air, Paris, 1909
Harley, R., Artist’s Pigments c. 1600–1835, London, 1970
Harley, R., ‘Oil colour containers: Development Work by Artists and Colourmen in the Nineteenth Century’, in Annals of Science, vol. 27, no. 1 (March 1971)
Haro letters, Fondation Doucet, Bibliothèque d’Art et d’Archéologie, Bibliothèque Nationale, Paris
Havel, Marc, La Technique du tableau, Paris, 1974
Hedley, G., Measured Opinions: Collected Papers on the Conservation of Paintings, ed. C. Villers, London, 1993
Hefting, V., Jongkind, sa vie, son œuvre, son époque, Paris, 1975
Helmholtz, H., L’Optique et la peinture, French trans., Paris, 1878, bound with E. Brücke, Principes scientifiques des Beaux-Arts
Henriet, Frédéric, Le paysagiste aux champs, Paris, 1866 and 1876
Herbert, R., Jean-François Millet, London, 1976
Herbert, R., ‘Method and Meaning in Monet’, Art in America, September 1979
Higonnet, A., ‘Writing the Gender of the Image: Art Criticism in Late Nineteenth-century France’, Genders, no. 6, Fall 1989
Hilier, H., Notes on the Technique of Painting, London, 1957
Hills, P., The Light of Early Italian Painting, New Haven and London, 1987
Hoffmann, B., The Strange Story of the Quantum, Harmondsworth, 1965
Hoschedé, J. P., Claude Monet, ce mal connu, 2 vols., Geneva, 1960
House, J., ‘Aspects of the Painting of Claude Monet, c. 1870–1890’, PhD thesis, University of London, 1976
House, J., Monet, Nature into Art, New Haven and London, 1986
House, J., ed., Renoir, Master Impressionist, Sydney, 1994
House, J., ed., Landscapes of France: Impressionism and its Rivals, London, 1995
Huysmans, J.-K., L’Art moderne / Certains, reprinted Paris, 1975
Impressionist and Post-Impressionist Masterpieces: The Courtauld Collection, New Haven and London, 1987
Isaacson, J., The Crisis of Impressionism 1878–82, Michigan, 1980
Jay, M., Downcast Eyes: The Denigration of Vision in French Twentieth-Century Thought, Berkeley and Los Angeles, 1994
Jean-Aubry, G., Boudin, Paris, 1922
Jirat-Wasiutyński, V., ‘Attitudes to Varnish in 19th-century France’, in L. Carlyle and J. Bourdeau (eds.), Varnishes: Authenticity and Permanence, Ottawa, 1994
Jirat-Wasiutyński, V., and H. Travers Newton, ‘Absorbent Grounds and the Matt Aesthetic in Post-Impressionist Painting,’ in A. Roy and P. Smith, eds., Contributions to the Dublin Congress. Painting Techniques: History, Materials and Studio Practice, London, 1998
Jirat-Wasiutyński, V. and H. Travers Newton, Technique and Meaning in the Paintings of Paul Gauguin, Cambridge, 2000
Johnson, L., Delacroix, London, 1963
Joly-Segalen, A., ed., Lettres de Gauguin à Daniel de Montfried, Paris, 1950
Kálmán Meller, M., ‘Exercises in and around Degas’s Classrooms: Part I’, The Burlington Magazine, vol. CXXX, 1988
Kendall, R., Degas: Beyond Impressionism, London, 1996
Kendall, R. and G. Pollock, eds., Dealing with Degas: Representations of Women and the Politics of Difference, London, 1992
Kingsbury, L., ‘Towards a Study of Painting Preparations of European Easel Paintings up to the End of the Seventeenth Century’, unpublished thesis, Courtauld Institute of Art Technology Department, London, 1970
Laforgue, Jules, ‘L’impressionnisme,’ 1883, in Mélanges Posthumes, vol. III, Paris, 1903
Lambertye, Ancienne Maison, unfinished poster, colour samples missing, 1831 or 1833, Cabinet des Estampes, Bibliothèque Nationale, Paris
Laurie, A. P., The Painter’s Methods and Materials, 1910; New York, 1967
Laxer, J., The Undeclared War: Class Conflict in the Age of Cyber Capitalism, Toronto, 1998
Lebrun, Pierre, Brussels manuscript, 1635; in Merrifield 1949, vol. II
LeCarpentier, C.-J.-F, Essais sur le paysage, Paris, 1817
Lechertier, Barbe and Co., ‘Extract from the Price List of Colours and Materials for Oil Painting’, bound with Joseph Bouvier, A Handbook for Oil Painting, London, 1885
Lecoq de Boisbaudran, Horace, L’Education de la mémoire pittoresque et la formation de l’artiste, (1862), Paris, n.d. (with a preface by Rodin, who died in 1913)
Lecoq de Boisbaudran, Horace, Sommaire d’une méthode pour l’enseignement du dessin et de la peinture, Paris, 1876
Lefort, Jules, Chimie des couleurs pour la peinture à l’eau et à l’huile, Paris, 1855
Lefranc & Cie, 1842 (poster)
Lefranc & Cie, catalogues, Paris, n.d. (c. 1850), 1855, 1858, 1863, 1876, 1883, 1889, 1896, 1899, 1900, 1914
Lefranc & Cie, Notices, Paris, 1878, 1900
Leighton, J. and R. Thomson, Seurat and the Bathers, London, 1997
Le Roux, Hugues, ‘Silhouettes parisiennes, l’exposition Claude Monet’, Gil Blas, Paris, 3 March 1889
Leroy, Louis, ‘L’exposition des impressionnistes’, Le Charivari, Paris, 25 April 1874
Lethève, J., Impressionnistes et Symbolistes devant la presse, Paris, 1959
Lethève, J., La vie quotidienne des artistes français au XIXe siècle, Paris, 1968
Levine, S. E., Monet, Narcissus and Self-Reflection: The Modernist Myth of the Self Chicago, 1994
Lindsay, S. G., Mary Cassatt and Philadelphia, Philadelphia, 1985
Lindsay, S. G., ‘Berthe Morisot: Nineteenth-century Woman as Professional’, in Edlestein (ed.) 1990
Lloyd, C., ed., Studies on Camille Pissarro, London and New York, 1986
Mainardi, P., Art and Politics of the Second Empire, The Universal Exhibitions of 1855 and 1867, New Haven and London, 1989
Mallarmé, Stéphane, ‘The Impressionists and Edouard Manet’, The Art Monthly Review and Photographic Portfolio, vol. I, no. 9, 30 September 1876, pp. 117–22; reprinted in full in Moffett 1986
Manet, 1832–1883, exh. cat., Grand Palais, Paris, 1983
Martineau, J., ed., Andrea Mantegna, London, 1992
Mauclair, Camille, Corot, Paris, 1962
Mayer, Ralph, A Dictionary of Art Terms and Techniques, London, 1969
Mayer, Ralph, The Artist’s Handbook, London, 1977
Mendgen, E., ‘James McNeill Whistler’ in Mendgen (ed.) 1995
Mendgen, E., ed., In Perfect Harmony: Picture + Frame, 1850–1920, Amsterdam, 1995
Meredith, C., ‘Survey of Canvas as a Painting Support’, unpublished thesis, Courtauld Institute of Art Technology Department, London, 1977
Mérimée, J.-F.-L., De la peinture à l’huile, Paris, 1830; facsimile edn., Paris, 1979
Mérimée, J.-F.-L., The Art of Painting in Oil and Fresco, English edn., London, 1839
Merrifield, M. P., Original Treatises on the Arts of Painting, 2 vols., London, 1949
Miller, M., The Bon Marché: Bourgeois Culture and the Department Store 1869–1920, Princeton, New Jersey, 1981
Milner, J., The Studios of Paris: The Capital of Art in the Late Nineteenth Century, New Haven and London, 1988
Minneart, M., The Nature of Light and Color in the Open Air, New York, 1954
Mirbeau, Octave, ‘Claude Monet’, catalogue preface, Claude Monet, Auguste Rodin, Galeries Georges Petit, Paris, 1889
Mirzoeff, N., ed., The Visual Culture Reader, London and New York, 1998
Mirzoeff, N., ‘Pissarro’s Passage: The sensation of Caribbean Jewishness in diaspora’ in Diaspora in Visual Culture: Representing Africans and Jews, ed. N. Mirzoeff, London and New York, 2000
Mitchell, P., and L. Roberts, A History of European Picture Frames, London, 1996
Moffett, C. S., ed., The New Painting: Impressionism 1874–1886, Oxford, 1986
Monet Unveiled: A New Look at Boston’s Paintings, exh. cat., Museum of Fine Arts, Boston, 1977
Moreau-Nélaton, Etienne, Daubigny raconté par lui-même, Paris, 1925
Morisot, B., Correspondance de Berthe Morisot, ed. Denis Rouart, Paris, 1950
Muybridge, Eadweard, Animal Locomotion, 11 vols., Philadelphia, 1887
Natanson, T., Peints à leur tour, Paris, 1948
Nochlin, L., ed., Impressionism and Post-Impressionism 1854–1904, Englewood Cliffs, New Jersey, 1966
Nochlin, L., Women, Art, and Power and Other Essays, London, 1989
Orton, F. and G. Pollock, Avant-Gardes and Partisans Reviewed, Manchester, 1996
Oudry, Jean-Baptiste, ‘Discours sur la pratique de peindre’, Académie Royale de Peinture et Sculpture (2 December 1752?), Bibliothèque Nationale, Paris, Cabinet des Estampes
Paillot de Montabert, Jacques-Nicholas, Traité complet de la peinture, 9 vols, and plates, Paris, 1829–51
Paint and Painting: An exhibition and working studio sponsored by Winsor & Newton to celebrate their 150th anniversary, Tate Gallery, London, 1982
Pasdermadjian, H., The Department Store: Its Origins, Evolution and Economics, London, 1954
Pasteur, ‘L’Obscurcissement de la peinture à l’huile’, lecture, 1865; reprinted in Annales, Laboratoire des Musées de France, vol. I, 1956
Les Peintres et la couleur, Lefranc & Cie, Paris, 1902
Perry, Lilla Cabot, ‘Reminiscences of Claude Monet, 1889–1909’, American Magazine of Art, March 1927; reprinted in Stuckey (ed.) 1985
Pickvance, R., ‘Contemporary Popularity and Posthumous Neglect’, in Moffett (ed.) 1986
Pierre, Ludovic, Renseignements sur les couleurs, vernis, huiles . . ., Paris, n.d. (c. 1900?)
Piot, René, Les Palettes de Delacroix, Paris, 1931
Pissarro, Camille, Lettres à son fils Lucien, ed. J. Rewald, Paris, 1950
Pollock, G., Vision and Difference, Femininity, Feminism and the Histories of Art, London, 1988
Pollock, G., Avant-garde Gambits 1888–1893: Gender and the colour of Art History, London, 1993
Pollock, G., Mary Cassatt, London, 1998
Post-Impressionism: Cross-currents in European Painting, ed. J. House and M.A. Stevens, exh. cat., Royal Academy, London, 1979
Postle, M., and W. Vaughan, The Artist’s Model from Etty to Spencer, Nottingham, 1999
Poulain, G., Bazille et ses amis, Paris, 1932
Prendergast, C., Writing the City: Paris and the Nineteenth-century, Oxford, 1996
Raffaëlli, Jean-François, ‘Caractère des lignes’, La Revue Indépendante, vol. vi, February 1888
Recouvreur, Adrien, Grammaire du peintre, Paris, 1890
Reeves & Son, The Use and Abuse of Colours and Mediums in Oil Painting. A Handbook for Artists and Art Students (by H. C. Standage), London, 1892
Reff, T., ‘New Light on Degas’s Copies’, The Burlington Magazine, vol. CVI, 1965
Reff, T., ‘Technical Aspects of Degas’s Art,’ Metropolitan Museum of Art Journal, 1971
Reff, T., Degas: The Artist’s Mind, London, 1976
Renoir, Pierre-Auguste, ‘Lettre à M. Henri Mottez’, preface to Cennino Cennini, Le Livre de l’art ou traité de la peinture, Paris, 1911
Renoir, ed. J. House and A. Distel, exh. cat., Hayward Gallery, London, 1985
Renoir, Jean, Renoir, Paris, 1962
Rewald, J., ‘Chocquet and Cézanne’, Gazette des Beaux-Arts, July/August 1969
Rewald, J., The History of Impressionism, London, 1973
Rewald, J., ‘Cézanne and Guillaumin,’ Etudes d’art français offertes à Charles Sterling, ed. A. Châtelet and N. Reynaud, Paris, 1975
Rewald, J., Post-Impressionism: from van Gogh to Gauguin, London, 1978
Rigby, B., ed., French Literature, Thought and Culture in the Nineteenth Century: A Material World, London, 1993
Roberson catalogue, London, n.d. (c. 1852)
Robert, Karl (pseud. Georges Meusnier), Traité pratique de la peinture à l’huile. Paysage, Paris, 1878; Portrait et genre, Paris, 1891
Rogoff, I., ‘Studying Visual Culture: Spectatorship in the Field of Vision’, in Mirzoeff (ed.) 1998
Roos, J. Mayo, ‘Herbivores versus Herbiphobes: Landscape Painting and the State’, in House 1995
Rosen, C., and H. Zerner, Romanticism and Realism: The Mythology of Nineteenth-Century Art, London, 1984
Rothe, A., ‘Mantegna’s Paintings in Distemper’, in Martineau (ed.) 1992
Rouart, Denis, Degas à la recherche de sa technique, Paris, 1945; trans. P. DeSantis, S. Fletcher and S. Fisheras, Degas in Search of his Technique, New York, 1988
Rouart, D., ed., Correspondance de Berthe Morisot, Paris, 1950,
Rowbotham, Thomas L., The Art of Landscape Painting with Watercolours, London, 1877(?)
Rowney, George, ‘Materials for Oil Painting’, bound with J. S. Templeton, A Guide to Oil Painting, London, n.d. (after June 1871)
Roy, A., ed., Artists’ Pigments: A Handbook of their History and Characteristics, vol. 2, Washington, 1993
Roy, A., and P. Smith, eds., Contributions to the Dublin Congress. Painting Techniques: History, Materials and Studio Practice, London, 1998
Sagraves, J., ‘The Street’, in Gustave Caillebotte: The Unknown Impressionist, London, 1996
St John, Bayle, The Louvre, or Biography of a Museum, London, 1855
Salomon, J., ‘Chez Monet, avec Vuillard et Roussel’, L’Œil, May 1971
Schaefer, S., ‘Rivers, Roads and Trains’, in Brettell (ed.) 1984
Scharf, A., Art and Photography, Harmondsworth, 1974.
Schivelbusch, W., The Train Journey : Trains and Travel in the Nineteenth Century, New York, 1979
Schivelbusch, W., Disenchanted Night: The Industrialisation of Light in the Nineteenth Century, trans. A. Davies, Berkeley, Los Angeles and London, 1995
Sennelier, catalogues, Paris, 1894, 1898, 1899
Sennett, R., The Fall of Public Man, London, 1977, 1985
Sensier, Alfred, Etude sur Georges Michel, Paris, 1872
Sensier, Alfred, Souvenirs sur Théodore Rousseau, 1872
Sérusier, Paul, ABC de la peinture, Paris, 1950
Shiff, R., Cézanne and the End of Impressionism: A Study of the Theory, Technique and Critical Evaluation of Modern Art, Chicago, 1984
Shiff, R., Impressionist Criticism, Impressionist Color and Cézanne, Ann Arbor, 1976
Shikes, R. E. and P. Harper, Camille Pissarro, His Life and Work London, 1980
Signac, Paul, D’Eugène Delacroix au néo-impressionnisme, Paris, 1889; ed. F. Cachin, Paris, 1964
Silverman, D., Art Nouveau in Fin-de-Siècle France: Politics, Psychology and Style, Berkeley, Los Angeles and London, 1989
Smith, B., ‘William Hodges and English plein air painting, Art History, vol. 6, no. 2, June 1983
Smith, P., Interpreting Cézanne, London, 1996
Solomon Godeau, A., ‘Going Native’, Art in America, vol. LXXVII, 1989
Spate, V., The Colour of Time: Claude Monet, London 1992
Stallybrass, P., and A. White, The Politics and Poetics of Transgression, London, 1986
Standage, H. C., The Use and Abuse of Colours and Mediums in Oil Painting. A Handbook for Artists and Art Students, Reeves & Son, London, 1892
Stern, B., Mary Cassatt: The Color Prints, New York, 1989
The Strasbourg Manuscript, trans. V. and R. Borradaile, London, 1966
Stuckey, C. F., Monet, Chicago, 1995
Stuckey, C. F, ed., Monet, A Retrospective, New York, 1985
Swicklik, M., ‘French Painting and the Use of Varnish, 1750–1900’, Conservation Research, National Gallery of Art, Washington, 1993
Tabarant, A., ‘Couleurs’, Bulletin de la vie artistique, vol. 4, no. 14, 5 July 1923
Tabarant, A., La vie artistique au temps de Baudelaire, Paris, 1942
Templeton, J. S., A Guide to Oil Painting, Rowney & Co., London, n.d. (after June 1871)
Thénot, Jean-Pierre, Cours complet de paysage, Paris, 1834
Thénot, Jean-Pierre, Les Règles de la peinture à l’huile (c. 1840?); new edn., F. Goupil, Paris, n.d. (c. 1860)
Thénot, Jean-Pierre, Essais sur la peinture à l’huile, Paris, 1842
Thiébault-Sisson, ‘Claude Monet, les années des épreuves’, Le Temps, 26 November 1900 (trans. in Stuckey 1985)
Thompson, D. V., The Techniques and Materials of Mediaeval Painting, New York, 1956
Thompson, D. V., Jnr., The Practice of Tempera Painting, New York, 1962
Thomson, B., Gauguin, London, 1990
Thomson, R., Degas: The Nudes, London, 1988
Thoré, Théophile, Salons de W. Bürger, 2 vols., Paris, 1870,
Tietze-Conrat, E., ‘What Degas Learned from Mantegna’, Gazette des Beaux-Arts, vol. XXVI, 1944
Todd, V., ed., Appearance, Opinion, Change: Evaluating the Look of Paintings, London, 1990
Tomel, Guy, ‘L’Atelier de Couture’, unsourced article (obituary after Couture’s death in 1879?) pasted in the back of Couture 1867; copy in Cabinet des Estampes, Bibliothèque Nationale, Paris
Tucker, P. H., Monet in the ‘90s: The Series Paintings, New Haven and London, 1989
Van de Wetering, E., ‘The Canvas Support’, in Jean-Pierre de Bruyn, A Corpus of Rembrandt Paintings, vol. 2, The Hague, 1986
Van Tilborgh, L., ‘Framing van Gogh 1880–1890’, in Mendgen (ed.) 1995
Varnedoe, J. K. T., Gustave Caillebotte, New Haven and London, 1987
Vasari, Giorgio, Vasari on Technique, trans. L. Maclehose, New York, 1960
Venturi, L., Cézanne, son art, son œuvre, Paris, 1936
Venturi, L., ‘Pierre-Henri de Valenciennes’, Art Quarterly, vol. IV, no. 2, 1941
Venturi, L., Les Archives de l’impressionnisme, 2 vols., New York, 1968
Vibert, Jehan-George, La Science de la peinture, 2nd edn., Paris, 1892; 10th edn., 1893
Vollard, Ambroise, Souvenirs d’un marchand de tableaux, Paris, 1937
Vollard, Ambroise, En écoutant Cézanne, Degas, Renoir, Paris, 1938
Ward, M., ‘Impressionist Installations and Private Exhibitions’, Art Bulletin, vol. 73, December 1991
Ward, M., Pissarro, Neo-Impressionism and the Spaces of the Avant-garde, Chicago and London, 1996
Waschek, M., ‘Camille Pissarro: From Impressionist Frame to Decorative Object’, in Mendgen (ed.) 1995
Watin, Jean-Félix, L’Art du peintre, doreur, vernisseur, 3rd edn., Paris, 1776
Wechsler, J., ed., Cézanne in Perspective, Englewood Cliffs, New Jersey, 1975
Weisberg, G., The Realist Tradition: French Painting and Drawing 1830–1900, Bloomington, Indiana, 1980
White, B. Erlich, ‘Renoir’s Trip to Italy’, Art Bulletin, vol. 51, December 1969
White, B. Erlich, Renoir, New York, 1984
White, H. C. and C. A. White, Canvases and Careers: Institutional Change in the French Painting World, New York, London, Sydney, 1965
Whiteley, J., Ingres, London, 1977
Wildenstein, D., Monet: biographie et catalogue raisonné, 4 vols., Lausanne, 1974–1985; reprinted as Monet, or The Triumph of Impressionism: catalogue raisonné, 4 vols., Taschen/Wildenstein Institute, Cologne, 1996
Williams, R., Dream Worlds: Mass Consumption in Late Nineteenth-Century France, Berkeley, Los Angeles, and London, 1991
Williams, W., The Art of Landscape Painting in Oil Colours, 33rd edn., London, 1877
Wilson, M., M. Wyld and A. Roy, ‘Monet’s “Bathers at La Grenouillère’”, National Gallery Technical Bulletin, vol. 5, London, 1981
Wilson-Bareau, J., The Hidden Face of Manet: An Investigation of the Artist’s Working Processes, London, 1986
Winsor & Newton catalogues, n.d. (1840), n.d. (c. 1841), 1846, 1849, 1908
Winsor & Newton’s ‘List of Colours and Materials’, bound with Rowbotham 1877(?)
Winsor & Newton’s ‘List of Colours and Materials for Water Colour Painting, Oil Colour Painting, Pencil Drawing etc.’, bound with Williams 1877
Wissman, F. E., ‘Realists among the Impressionists’, in Moffett (ed.) 1986
Wolff, J., ‘The Invisible flâneuse: Women and the Literature of Modernity’, in Theory, Culture and Society, vol. 2, no. 3, 1985
Zola, Emile, ‘Mon Salon, les actualistes’, L’Evénement illustré, 24 May 1868, in Ecrits sur l’art, Paris, 1970
Zola, Emile, ‘Le naturalisme au Salon’, Le Voltaire, 18–22 June 1880, in Ecrits sur l’art, Paris, 1970
Zola, E., Au bonheur des dames, Paris, 1883; trans. as The Ladies’ Paradise, 1886; facsimile reprint Berkeley, Los Angeles and Oxford, 1992
Selected Bibliography
Previous chapter Next chapter