Impressionism

Source: The Burlington Magazine , Apr., 1991, Vol. 133, No. 1057 (Apr., 1991), p. 275
Published by: (PUB) Burlington Magazine Publications Ltd.

Stable URL: https://www.jstor.org/stable/884687

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 PUBLICATIONS RECEIVED

has
has
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Pevsnerian
Pevsnerian
Pevsnerian Bacchanale
architectural
architectural
architectural
history;
history;
his eclecticism
history;
his eclecticism
his ec
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as an arch
Discussing the 1880s Burgtheater commission been
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beenliberated.
liberated.
liberated.
It was
It was
in such
It
in awas
such
painting
ain
painting
that
such historian
historian
historian
Picasso
that should
should
a painting
Picasso should
be be
more
more
be
thatwidely
more
widely
recognised.
Picassowidely
recognised.
recognised.
RODERICK O'DONNELL
Whitford shows the importance of contemporary appears appears
appears toto
havehave
torealised
have
realised
thatrealised
nothing
that nothing
could
that
be could
thenothing
be the could be the
photography and historical styles that would char-same same
sameagain
again
again
andand
thatthat
and
fromfrom
then
that on
then
his
fromwork
on his
would
then
workbe on
would
hisbe work would be
acterise Klimt's typical, mature work. Klimt's laterbacchantic
bacchantic
bacchantic in in
spirit,
spirit,
inpleasure
spirit,
pleasure
and terror
pleasure
and becoming
terror becoming
and terror becoming
conflict with university authorities over his interpret- almost
almost
almost indistinguishable.
indistinguishable.
indistinguishable. Impressionism
Impressionism
ation of the triumph of light over darkness show him No
No
No attempt
attempt
attemptwaswas
mademade
was
to give
to
made
any
give
underlying
any
to underlying
give any underlying
Impressionist
Impressionist
inDreams.
Dreams.
The The
Artists
Artists
and
inthe
andWorld
theThey
World
incapable of ignoring pessimistic revelations by Freud, pattern
pattern
pattern oror
to to
demonstrate
ordemonstrate
to demonstrate
stylistic
stylistic
developments
developments
stylistic
in developments
the
the
theperiod
period
period
(such
(such
as (such
Picasso's
as Picasso's
increased
as Picasso's
increased
distortion Painted.
Painted.
distortion
increasedByJohn
ByJohnRussell
Russell
Taylor.
distortion Taylor.
192 pp.
192
+ 185
pp.ills.,
+ 185 il
Schopenhauer and Nietzsche. Sex and death con-
fronting all humankind were central. Yet elsewhere towards
towards
towards thethe
endthe
end
of the
of
end
war).
the of
war).
The catalogue
theThe war).is amainly
mainly
catalogue The isina
incol.
col.
(Barrie
(Barrie
catalogue & Jenkins,
& Jenkins,
is a 1990), 1990),
?25.
ISBN 0-712-6-3644-7.
Whitford stresses Klimt's social commitment in the collection
collection
collectionof of
essays
essays
ofof essays
which
of which
the most
ofthewhich
interesting
most interesting
the
are most are interesting are
Vienna Secession: no mere stylistic phase but a move-those
those
thosebybyBrigitte
by
Brigitte
Brigitte
Baer,Baer,
Franz Franz
Meyers
Baer, Meyers
andFranz andVery
Laurence poorly reproduced
Meyers
Laurence and illiterately captioned
and Laurence
colour illustrations to a thematic break-down of Im-
ment dedicated to reform humanity through art. Bertrand
Bertrand
Bertrand Dorleac
Dorleac
Dorleac
who who
writes
writes
informatively
whoinformatively
writes of theinformatively
of the of the
Landscapes have the penultimate chapter to them- French
French
French art
art
world
art
worldunder
world
under
the German
the
under
German pressionism.
occupation.
the occupation.
German The lively text should have been better
occupation.
selves, almost a postscript, although Whitford lamentsPoorly
Poorly
Poorlyarranged,
arranged,
arranged,
the publication
the publication
theomits
publication
anyomits served
references by the
any references production.
omits any references How odd to find in a book
their being '... less well known than his other work'.to
to
toZervos
Zervos
Zervos
andand
gives
and
gives
no bibliographic
gives
no bibliographic
no history on Impressionism
bibliographic
under
history under historythat Morisot
under and Sisley are far
This volume will help make all Klimt's work better the
the
theperfunctory
perfunctory
perfunctory
catalogue
catalogue
of catalogue
exhibits.
of exhibits.
The repro-
ofovershadowed
The repro- in both
exhibits. The textrepro-
and pictures by Caillebotte.
kniiown to a wide readership. ductions,
ductions,
ductions, however,
however,
however,
are useful.
are useful.
are useful.
JACK RICKARDS KARSTEN SCHUBERT Impressionist Gardens. By Judith Bumpus. 49 pp. + 48
col. pls. (Phaidon, Oxford, 1990), ?14.95. ISBN
0-7148-2660-X.
Dame
Dame
Dame Laura
Laura
LauraKnight.
Knight.
Knight.
By
ByCaroline
Caroline
By Caroline
Fox.
Fox.128128
pp.
Fox.
pp.
+ 40
+128
40 pp. + 40
col.
col.
col.pls.
pls.
pls.
++ 61
61
+ b.
61
b.&&b.
w.
w.&
ills.
ills.
w. (Phaidon
(Phaidon
ills. (Phaidon
Press,
Press,Oxford,Too-brief
Oxford,
Press, picture book with a perceptive and
Oxford,
Picasso
Picasso
Picassoim im
imZweiten
Zweiten
ZweitenWeltkrieg
Weltkrieg
Weltkrieg
1939
19391939
bis
bis1945.
1945.
bis Edited
1945.
Edited
Edited
byby 1988),
by ?25. charming text and a ham-fisted designer.
1988),
1988), ?25.
?25.
ISBN
ISBN
ISBN
0-7148-2447X.
0-7148-2447X.
0-7148-2447X.
Sigfried
Sigfried
SigfriedGohr.
Gohr.
Gohr.296
296
296
pp.
pp.pp.
++3232
+col.
32
col.pls.
col.
pls.+pls.
+numerous
numerous
+ numerousIn
In
Inthis
this
thislamely
lamely
lamelywritten
written
written
monograph
monograph
monograph
on on
thethe
popular
popular
on the popular
ills.
ills. in
in
inb.
b.
b.&
&&w.
w.w.
++ figs.
+figs.
figs.
(Museum
(Museum
(Museum Ludwig,
Ludwig,
Ludwig,
Cologne,
Cologne,
Cologne,
and
and
andprolific
prolific
prolific Dame
Dame
Dame
(1887-1970),
(1887-1970),
(1887-1970),
cliches
clichesofcliches
of
style Monet's
style
per-
of
per- Cathedrals.
style per- Rouen 1892-1894. By Joachim
1988. Pissarro. 96 pp. + 30 col. pls. + figs. in col. and
fectly
fectly
fectly match
match
match looseness
looseness
looseness
ofof analysis.
analysis.
of analysis.
'The
'Theartistically
artistically
'The artistically
After the two 1988 Picasso exhibitions in Paris b. & w. (Pavilion, London, 1990), ?20. ISBN
inclined'
inclined'
inclined' Laura
Laura
Laura
grew
grew
grew
up
upinin
aup
family
a family
in aincreasingly
family
increasingly
increasingly
('Les demoiselles d'Avignon' at the Mus&e Picassoimproverished
and 1-85145-600-7.
improverished
improverished and
and'hit
and
'hitby by
'hit
tragedy'.
tragedy'.
by tragedy'.
Her Her
dulldull
early
Her
earlydull early
'Le dernier Picasso' at the Centre Pompidou), work the is
work
work isis
given
given
given
even
even even
less
lessofof
less
a chance
a chance
of aherechance
here
by bypoorApoor
thorough
here by poorand illuminating account of Monet's
Museum Ludwig in Cologne followed suit with a
reproductions.
reproductions.
reproductions. In
In1903
1903
In she
1903
she married
married
she married
thethe Rouen
portrait theCampaign
portrait portrait in 1892-93 resulting in the famous
third exhibition dedicated to a specific period inpainter
the
painter
painter Harold
Harold
HaroldKnight
Knight
Knightand
and inin1907
and1907they
inthey
1907
moved 1895
moved to showing
they tomoved of to
20 of the series at Durand-Ruel.
artist's euvre 'Picasso im Zweiten Weltkrieg' ('Picasso Good use is made of familiar material and there is
Cornwall
Cornwall
Cornwall where
where
where
Laura
Laura Laura
began
began 'to
began
'to
live
live
every
'to
every
live
moment
moment
every moment
during the Second World War'). It covered the years some less well known documentation on Pissarro in
to
to
tothe
the
thefull'
full'
full'
and
andand
where
wherewhere
Munnings
Munnings
Munnings
declared
declaredher
declared
her
a 'great
a 'great
her a 'great
from the beginning of the Spanish Civil War toartist'.
the
artist'.
artist'. Works
Works
Worksare
arehere
are
herereproduced
here
reproduced
reproduced
bybyMunnings
Munnings
byRouen.
and andCritical and
Munnings opinion and subsequent influence is
German recapitulation in May 1945. Compared with summarised. It is unfortunate that the 30 full-scale
Forbes
Forbes
Forbes (poor
(poor
(poor
black-and-whites
black-and-whites
black-and-whites from
from public
public
fromcollections).
collections).
public collections).
the two Paris exhibitions, memorable in quality, Laura's
Laura's
Laura's work
work
workwas
waswas
atatitsits
at
best;
best;
itsthereafter
best;
thereafter
thereafter
sheshe reproductions,
became
becameshe became generally good, have been frequently
scope, presentation and scholarship, the Cologne ex-
rapidly
rapidly
rapidly famous
famous
famouswith
with with
a apublic
public
a which
public
which refused
which
refusedto cropped
to ack- at their
ack-
refused to ack-edges.
hibition and its catalogue were disappointing. Of
nowledge
nowledge
nowledgethe
the
the
gradual
gradual
gradual
decline
decline
decline
ofof
her
her
painting
of
painting
herinto
painting
into into
the seventy-four paintings, sculptures, drawings febrile
and
febrile
febrile vulgarity.
vulgarity.
vulgarity. There
There
There
was
wasa brief
a was
brief
respite Thames
a respite
briefin in & Hudsonin
respite Encyclopaedia of Impressionism. By
prints included, only a handful was memorablethe andSecond
the
the Second
Second
War
WarWar
when
when when
Home
Home Front
Home
Front
subjects
Front
subjects Bernard
attracted
subjects
attracted Denvir. 240 pp. + 15 col. pls. + num. ills.
attracted
the impression they convey is of a depressed Picasso,
aa more
more
more carefully
carefully
carefullyachieved
achieved
achieved
approach
approach
approach
(and
(and
areare in
ob- b. &are
(and
ob- w. (Thames
ob- & Hudson, 1990), ?5.95.
painting listlessly as the world about him was being ISBN 0-500-20239-7.
viously
viously
viously valuable
valuable
valuable
asasdocuments).
documents).
as documents).
TheThe
Nuremberg
Nuremberg
The Nuremberg
destroyed. An A to Z of the movement from models and
trials
trials
trialswere
were
werebetter
better
better
recorded
recorded
recorded
inin
her
her
writings
in
writings
herthan
writings
than
in in than in
In fact the subject of the exhibition is of great the
the
thecommissioned
commissioned
commissioned studies
studies
studies
and
and paintings;
paintings;
and paintings;
fewfew money
works
works to caf6s
few works and critics; useful enough but such
interest. How did one of the century's finest artists books
are
are
arereproduced
reproduced
reproduced
from
fromfrom
her
her last
last
hertwenty
twenty
lastyears.
twenty
years.
A 19651965ought
A years. A to
1965be error-proof and this one contains
come to terms with the century's greatest disaster? factual mistakes
R.A.
R.A.
R.A.retrospective
retrospective
retrospective
brought
brought
brought
some
some withering
withering
some withering
reviews
reviews reviews- Morisot's niece married Valkry
Whereas Picasso's work always remained resolutely including
including
including one,
one,
one,
severely
severely
severely
misquoted
misquoted
misquoted
bybyFox,Fox, not
in by
THE Mallarmb,
in THE Sisley was not in London in the Franco-
Fox, in THE
autobiographical and detached from the reality of a BURLINGTON
BURLINGTON
BURLINGTON MAGAZINE
MAGAZINE
MAGAZINE
- though
- though
- the
though
the
sense
sense
isthe Prussian
conveyed.
is conveyed.
sense War, one Charpentier family is confused
is conveyed.
modern industrial society, his work of the war period with another, 'led
Renoir's friend was Jules not Jacques
Finally,
Finally,
Finally, the
the
the
author
author
author
remarks
remarks
remarks
that
that
Laura
Laura
that
Knight
Knight
Laura
'led'led
Knight
was in many ways exceptional. From 1937 to 1945, an
an
anexceptionally
exceptionally
exceptionally varied
varied
varied
and
and
colourful
colourful
and colourful
lifelife Le
andand
hadCoeur,
life etc; other
had and had readers with special knowledge
private concerns and world history converge for the produced
produced
produced aavast
vast
a vast
body
bodybody
ofof
work
work
ofinwork
in
a number
a number
in a are bound
ofnumber
different
of different to discover more. But the general effect is
of different
first time. Picasso the Spaniard was personally affected media
media
media depicting
depicting
depicting
a awide
wide
a variety
wide
varietyvariety
ofof
subjects.'
subjects.'
ofBut one
so of
so up-to-date
subjects.'
But But so aplomb.
by events in Spain and the German invasion posed did
did
didRubens.
Rubens.
Rubens.The
TheThe
author
author
author
shows
shows little
shows
little
insight
insight
little
into
into
insight into
an immediate threat to him. His response to the Knight's
Knight's
Knight's choice
choice
choice
of
ofsubjects
subjects
of subjects
(she
(shewaswas
(she
notnot A in
alone
was Guide
alone in to
not the Impressionist
alone in Landscape. By Patty Lurie.
Spanish War included the 'Dream and lie of Franco' painting
painting
painting the
thethe
circus)
circus)
circus)
and
andmakes
makes
and little
makes
little
attempt
attempt
little to 135
placepp. to
to attempt
place with 112 col. ills. and num. maps. (Bulfinch
place
etchings and Guernica. They illustrate the complexity her
her
heramong
among
among other
other
other
traditional
traditional
traditional
figurative
figurative
figurative
painters
painterswhenPress,
when Little,
painters Brown & Co., Seattle, 1990), ?11.95.
when
of Picasso's reactions and establish the direction of ISBN 0-8212-1796-8.
comparisons
comparisons
comparisons might
might
might
have
have been
have
been valuable.
valuable.
been Why valuable.
Why is Laura
is Laura
Why is Laura
all his subsequent war-period works. Guernica was Knight
an
Knight
Knight still
still
still
popular
popular
popular
ininthe
the
in
saleroom
saleroom
the saleroom
andandwithwith An
certain
and
certainenthusiastic
with certainand carefully written travellers'
allegorical view of the bombing of the Basque town dealers
dealers
dealers but
butbut
comparatively
comparatively
comparatively disregarded
disregarded
disregarded
elsewhere? handbook
elsewhere? A which concentrates
elsewhere?
A A on the Impressionists
and the work of the following years alludes to, ratherrecent
recent
recent exhibition
exhibition
exhibition atatDavid
David
at Messum,
David
Messum, Messum,
'On'On With
With in
The
'On Northern
TheWith France
The - Le Havre, Trouville, Pontoise,
than depicts, the events of the time in even more in- Auvers,
Show'
Show'
Show' failed,
failed,
failed,
for
forthis
for
thiswriter
this
writer writer
at at
least,
least,
to
attoprovide
least,
provideato
re- re- Moret,
aprovide etc. with useful travelling tips and
a re-
direct and remote ways. In the face of such happenings,
assessment
assessment
assessment of
ofLaura
of
Laura
Laura
Knight's
Knight's
Knight's
position;
position; position;
sheshe telling
remains
remains
she'then and now' illustrations.
remains
Picasso appears speechless, as though painting had
in
in
inthe
the
theunsorted
unsorted
unsorted
outhouse
outhouse
outhouse
ofof
twentieth-century
twentieth-century
of twentieth-century
English
English English
failed him. Impressionists and Moderns. The Art and Collection of
art.
As an entity, the work of 1939-45 is extremely Fritz Gross. By Catherine Whistler (with John Milner
disparate, united more in spirit than in style. He and Renate Gross). 128 pp. + 28 col. pls. + 104
ranged from near-archaism to cubist images and The Blue Guide to Victorian Architecture in b. & w. ills. (Oxford University Press/Ashmolean
works strongly inspired by surrealism (i.e. Seated woman Britain. By Julian Orbach. 622 pp. + numerous
Museum, 1990), ?27.50. ISBN 0-907849-98-9.
with hat, 1939, Zervos X, 228). What chiefly unites b. & w. ills. + maps. (A. & C. Black, London; An expensive publication documenting the col-
these works are two characteristics: the atmosphere W.W. Norton, New York, 1987), (14.95. ISBN lection of Fritz Gross, architect, designer and painter.
0-7136-2842-1. ISBN U.S.A. 0-393-30070-6.
and psychology of his sitters (real or imagined). Style The mainly nineteenth- and twentieth-century works
becomes a secondary issue used freely as a device to are often characteristic scraps on paper (with groups
Julian Orbach's Victorian Architecture in Britain
achieve other ends. by Toulouse-Lautrec, Gauguin and Picasso) - female
introduces us to a rich new diet following the lines of
The exhibition was notable for several important nudes and landscapes predominate. Gross's own work
Pevsner, including Scotland and Wales but unfortu-
omissions in giving a full survey of Picasso during nately not Ireland. Orbach's omniscience and is atele-
mediocre amalgam of various favourites in his
these years. Of the sculptures the most obvious ab- graphic style are clearly drawn from his training
modest collection such as Pascin and Renoir.
sentees were The man with sheep (Spies, 238) and the with Pevsner, the Victorian Society and later as an
Skull, 1943 (Spies, 219); of the paintings, Head ofInspector
a with what is now English Heritage, but
The Enchanted Stone: The Graphic Worlds of Odilon Redon.
woman with two profiles, 1939 (Zervos IX, 282) and more is added: literary and architectural references
wider than Victorianism, and open to Europe and By Ted Gott. 152 pp. + 22 col. pls. + numerous
Sleeping nude, 1942, (Zervos XII, 156) are two of ills.ofin col. and in b. & w. (National Gallery of
America. The gems are many, and the freshness
many which come to mind. The weakest part of the Victoria, 1990). ISBN 07241-01446-6.
the eye remarkable, not least in beginning with,
exhibition was the representation of drawings: certain Wellasproduced exhibition catalogue for extensive
under Avon County, the City of Bath, a Victorian
numbers (cat.48, 50, 51, 52, 53) seemed irrelevant well as a Georgian town. Unlike those continuing of
loan show (seen in Melbourne & Auckland) exploring
the Buildings of England, Orbach is not obliged
and there was no sign of such works as the studies for to graphic euvre, thematically arranged.
Redon's

275

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