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- ISBN-10
- 0521840805
- Book Title
- Modern Women and Parisian Consumer Culture in Impressionist
- ISBN
- 9780521840804
- Publication Year
- 2007
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Publication Name
- Modern Women and Parisian Consumer Culture in Impressionist Painting
- Item Height
- 0.9in
- Item Length
- 10.2in
- Publisher
- Cambridge University Press
- Item Width
- 7.3in
- Item Weight
- 28.7 Oz
- Number of Pages
- 298 Pages
Über dieses Produkt
Product Information
This book examines the encounter between Impressionist painting and Parisian consumer culture. Its analysis of Impressionist paintings depicting women as consumers, producers, or sellers in sites such as the millinery boutique, theater, opera, cafe-concert and market revises our understanding of the representation of women in Impressionist painting, from womens exclusion from modernity to their inclusion in its public spaces, and from the privileging of the male gaze to a plurality of gazes. Ruth E. Iskin demonstrates that Impressionist painting addresses and represents women in active roles, and not only as objects on display, and probes the complex relationship between the Parisienne, French fashion, and national identity. She analyzes Impressionist representations of commodity displays and of signs of consumer culture such as advertising and shopfronts in views of Paris. Incorporating a wide range of nineteenth-century literary and visual sources, Iskin situates Impressionist painting in the culture of consumption and suggests new ways of understanding the art and culture of nineteenth-century Paris. Ruth E. Iskin holds a PhD from UCLA. She has received the Andrew W. Mellon fellowship at the Penn Humanities Forum. Her publications include essays in The Art Bulletin, Discourse, and Nineteenth-Century Contexts. She teaches art history and visual culture at the Ben-Gurion University of the Negev in Israel.
Product Identifiers
Publisher
Cambridge University Press
ISBN-10
0521840805
ISBN-13
9780521840804
eBay Product ID (ePID)
63747780
Product Key Features
Publication Name
Modern Women and Parisian Consumer Culture in Impressionist Painting
Format
Hardcover
Language
English
Publication Year
2007
Type
Textbook
Number of Pages
298 Pages
Dimensions
Item Length
10.2in
Item Height
0.9in
Item Width
7.3in
Item Weight
28.7 Oz
Additional Product Features
Lc Classification Number
Nd1460.W65 I85 2007
Reviews
"Iskin's well-researched work is a significant contribution to Impressionist studies. Her argument is clear and convincing, through both its practical nature and the wealth of support provided through primary sources and the paintings themselves. Moreover, her work strengthens our understanding of the daily life of nineteenth-century Parisians, making it easier to imagine the actual streets, stores, and exhibitions through which Impressionists moved. As Iskin demonstrates, these painters witnessed the rapid development of mass consumption, and knowing this development is critical to understanding the visual stimuli of the modern world with which Impressionist painters engaged." -Francesca Bavuso, Arizona State University Nineteenth-Century Art Worldwide, vol. 8, no. 1, Spring 2009, "Ruth Iskin's book has an ambitious goal: to re-establish the links between consumer culture and avantgarde art in late-nineteenth-century France... The author's impressive parade of primary sources forces a new engagement with the works discussed - no small feat considering the existing wealth of scholarship on Impressionism, which includes her own work." --Natasha Ruiz-Go´mez, University of Essex The ArtBook, vol. 16, no. 1, "With a clear, elegant prose style, Ruth E. Iskin attends to details of social history as she analyzes the development of impressionist pictorial themes and figural types that captured for art the lived reality and the projected ideals of late-nineteenth-century Parisian society. This is a remarkably informative book, especially with regard to impressionist images of women, ... so central to the advanced art of the era." -Richard Shiff, the Effie Marie Cain Regents Chair in Art, The University of Texas at Austin. Author, Cézanne and the End of Impressionism, 'Iskin's well-researched work is a significant contribution to Impressionist studies. Her argument is clear and convincing, through both its practical nature and the wealth of support provided through primary sources and the paintings themselves. Moreover, her work strengthens our understanding of the daily life of nineteenth-century Parisians, making it easier to imagine the actual streets, stores, and exhibitions through which Impressionists moved. As Iskin demonstrates, these painters witnessed the rapid development of mass consumption, and knowing this development is critical to understanding the visual stimuli of the modern world with which Impressionist painters engaged.' Francesca Bavuso, Nineteenth-Century Art Worldwide, "This is a wide-ranging, interesting and often original book. Its central argument is that Impressionist painting not only engaged with consumer culture but functioned as an agent in the shift towards its modern ubiquity." -Robert Lethbridge, Journal of European Studies 2008, "Ruth E. Iskin wonderfully excavates the broad visual culture that emerged from consumerism in the second half of the nineteenth century in Paris and its deep connection to women's arrival in the public sphere. Iskin's keen eye, guided by excellent historical contextualization, leads the reader to see how Impressionist art was bathed in the commercial ethos of its era and did not always stand in an oppositional relationship to it. She brings new insights to such much-discussed paintings as A Bar at the Folies-Bergère and Degas' Women on the Terrace of a Café in the Evening. While respecting certain stylistic differences between the Impressionists and such artists as Gervex and Chéret, she makes a superb case for discussing these image-makers, who literally walked the same city streets. This book superbly demonstrates the value of seeing the history of art refracted through the lens of the broader visual culture in which it developed." -Vanessa R. Schwartz, Professor of History and Art History, University of Southern California. Author, It's So French! Hollywood, Paris and the Making of Cosmopolitan Film Culture and Spectacular Realities: Early Mass Culture in fin-de-siècle Paris, 'Impressionist painting and Parisian consumer culture are both identified with the emergence of the 'New' or modern city of the 1860s and 1870s. Ruth E. Iskin's book offers a comprehensive, nuanced and persuasive account of the intersection and mutual dependency between the two in shaping the visual culture of the time. An important book which sheds new light on modern formations of gender, fashion, consumption, art and national identity.' Whitney Chadwick, author of Women, Art, and Society, 'This extremely rich book is brimming with new social and cultural information. [It] is required reading for specialists in nineteenth-century Parisian visual culture.' H-France Review, "Impressionist painting and Parisian consumer culture are both identified with the emergence of the "New" or modern city of the 1860s and 1870s. Ruth E. Iskin's book offers a comprehensive, nuanced and persuasive account of the intersection and mutual dependency between the two in shaping the visual culture of the time. An important book which sheds new light on modern formations of gender, fashion, consumption, art and national identity." -Whitney Chadwick, Author, Women, Art, and Society, "Impressionist painting and Parisian consumer culture are both identified with the emergence of the "New" or modern city of the 1860s and 1870s. Ruth E. Iskin's book offers a comprehensive, nuanced and persuasive account of the intersection and mutual dependency between the two in shaping the visual culture of the time. An important book which sheds new light on modern formations of gender, fashion, consumption, art and national identity." --Whitney Chadwick, Author, Women, Art, and Society, There is plenty to engage with in Iskin's analysis of late nineteenth-century consumer culture and its explicit or implicit manifestation in the works of Manet and the Impressionists. With contributions made at the levels of both background context and analysis of key works, the book is a welcome addition to the literature in this area and has something to offer readers who are new to, or well acquainted with, the field of French avant-garde painting of the late nineteenth century. Kathryn Brown, University of Kent, Canterbury United Kingdom|9780521840804|, "With a clear, elegant prose style, Ruth E. Iskin attends to details of social history as she analyzes the development of impressionist pictorial themes and figural types that captured for art the lived reality and the projected ideals of late-nineteenth-century Parisian society. This is a remarkably informative book, especially with regard to impressionist images of women, ... so central to the advanced art of the era." --Richard Shiff, the Effie Marie Cain Regents Chair in Art, The University of Texas at Austin. Author, Cezanne and the End of Impressionism, 'Ruth E. Iskin explores the complicated relationship between Impressionist paintings and the burgeoning Parisian consumer culture in which they were created, writing about fine artists and their fascination with the mass-made object. She charts the evolution of a symbiotic relationship between commercial and fine art, in which we can also situate Marcel Duchamp's readymades of the 1910s, and which arguably reached its ultimate conclusion in Andy Warhol's Campbell's Soup Cans paintings of the early 1960s. Iskin challenges us to find new ways of understanding Impressionist paintings and in particular the complex relationship between women and consumer culture that they construct ... This book would be of interest to anyone interested in or studying art history, social history, or gender issues in the nineteenth century. Iskin succeeds in adding new angles to the discussion in an already-crowded area of academic discourse ... Iskin's study excels in making us rethink traditional gender paradigms of the late-nineteenth-century Parisian visual market.' Kiri Bloom, Interdisciplinary Studies in the Long Nineteenth Century, "Ruth E. Iskin explores the complicated relationship between Impressionist paintings and the burgeoning Parisian consumer culture in which they were created, writing about fine artists and their fascination with the mass-made object. She charts the evolution of a symbiotic relationship between commercial and fine art, in which we can also situate Marcel Duchamp's readymades of the 1910s, and which arguably reached its ultimate conclusion in Andy Warhol's Campbell's Soup Cans paintings of the early 1960s. Iskin challenges us to find new ways of understanding Impressionist paintings and in particular the complex relationship between women and consumer culture that they construct... This book would be of interest to anyone interested in or studying art history, social history, or gender issues in the nineteenth century. Iskin succeeds in adding new angles to the discussion in an already-crowded area of academic discourse... Iskin's study excels in making us rethink traditional gender paradigms of the late-nineteenth-century Parisian visual market." --Kiri Bloom, 19: Interdisciplinary Studies in the Long Nineteenth Century, no. 7, October, 2008., "Ruth E. Iskin wonderfully excavates the broad visual culture that emerged from consumerism in the second half of the nineteenth century in Paris and its deep connection to women's arrival in the public sphere. Iskin's keen eye, guided by excellent historical contextualization, leads the reader to see how Impressionist art was bathed in the commercial ethos of its era and did not always stand in an oppositional relationship to it. She brings new insights to such much-discussed paintings as A Bar at the Folies-Bergere and Degas' Women on the Terrace of a Cafe in the Evening. While respecting certain stylistic differences between the Impressionists and such artists as Gervex and Cheret, she makes a superb case for discussing these image-makers, who literally walked the same city streets. This book superbly demonstrates the value of seeing the history of art refracted through the lens of the broader visual culture in which it developed." --Vanessa R. Schwartz, Professor of History and Art History, University of Southern California. Author, It's So French! Hollywood, Paris and the Making of Cosmopolitan Film Culture and Spectacular Realities: Early Mass Culture in fin-de-siecle Paris, "This is a thought-provoking book that introduces many new ideas and makes new connections... It is an important resource for scholars of social, cultural, and art history as well as gender studies of the nineteenth century, while the extensive notes and works cited sections will be a valuable asset for studies of all types of consumer culture in Paris." --Charlene Garfinkle, H-Women, H-Net Reviews. March, 2009., 'Ruth E. Iskin wonderfully excavates the broad visual culture that emerged from consumerism in the second half of the nineteenth century in Paris and its deep connection to women's arrival in the public sphere. Iskin's keen eye, guided by excellent historical contextualization, leads the reader to see how Impressionist art was bathed in the commercial ethos of its era and did not always stand in an oppositional relationship to it. She brings new insights to such much-discussed paintings as A Bar at the Folies-Bergére and Degas' Women on the Terrace of a Cafè in the Evening. While respecting certain stylistic differences between the Impressionists and such artists as Gervex and Chèret, she makes a superb case for discussing these image-makers, who literally walked the same city streets. This book superbly demonstrates the value of seeing the history of art refracted through the lens of the broader visual culture in which it developed.' Vanessa R. Schwartz, University of Southern California and author of It's So French! Hollywood, Paris and the Making of Cosmopolitan Film Culture and Spectacular Realities, 'Ruth E. Iskin explores the complicated relationship between Impressionist paintings and the burgeoning Parisian consumer culture in which they were created, writing about fine artists and their fascination with the mass-made object. She charts the evolution of a symbiotic relationship between commercial and fine art … [She] challenges us to find new ways of understanding Impressionist paintings and in particular the complex relationship between women and consumer culture that they construct … This book would be of interest to anyone interested in or studying art history, social history, or gender issues in the nineteenth century. Iskin succeeds in adding new angles to the discussion in an already-crowded area of academic discourse … [Her] study excels in making us rethink traditional gender paradigms of the late-nineteenth-century Parisian visual market.' Kiri Bloom, Interdisciplinary Studies in the Long Nineteenth Century, 'This is a wide-ranging, interesting and often original book. For specialist 'consumers' of nineteenth-century culture, [it] is a compulsory purchase.' Robert Lethbridge, Journal of European Studies, 'This is a thought-provoking book that introduces many new ideas and makes new connections … It is an important resource for scholars of social, cultural, and art history as well as gender studies of the nineteenth century, while the extensive notes and works cited sections will be a valuable asset for studies of all types of consumer culture in Paris.' Charlene Garfinkle, H-Net Reviews, 'It is a pleasure to witness Iskin's textual play of light on Impressionist painting, illuminating the consumerism hidden in plain sight.' The Art Book, 'There is plenty to engage with in Iskin's analysis of late-nineteenth-century consumer culture and its explicit or implicit manifestation in the works of Manet and the Impressionists. With contributions made at the levels of both background context and analysis of key works, the book is a welcome addition to the literature in this area and has something to offer readers who are new to, or well acquainted with, the field of French avant-garde painting of the late nineteenth century.' Kathryn Brown, Canadian Art Review, "Ruth Iskin's book has an ambitious goal: to re-establish the links between consumer culture and avantgarde art in late-nineteenth-century France... The author's impressive parade of primary sources forces a new engagement with the works discussed - no small feat considering the existing wealth of scholarship on Impressionism, which includes her own work." -Natasha Ruiz-Go´mez, University of Essex The ArtBook, vol. 16, no. 1, 'With a clear, elegant prose style, Ruth E. Iskin attends to details of social history as she analyzes the development of impressionist pictorial themes and figural types that captured for art the lived reality and the projected ideals of late-nineteenth-century Parisian society. This is a remarkably informative book, especially with regard to impressionist images of women, ... so central to the advanced art of the era.' Richard Shiff, The University of Texas, Austin author of Cèzanne and the End of Impressionism, 'Iskin wonderfully excavates the broad visual culture that emerged from consumerism in the second half of the nineteenth century in Paris and its deep connection to women's arrival in the public sphere. [Her] keen eye, guided by excellent historical contextualization, leads the reader to see how Impressionist art was bathed in the commercial ethos of its era and did not always stand in an oppositional relationship to it … While respecting certain stylistic differences between the Impressionists and such artists as Gervex and Chret, she makes a superb case for discussing these image-makers, who literally walked the same city streets. This book superbly demonstrates the value of seeing the history of art refracted through the lens of the broader visual culture in which it developed.' Vanessa R. Schwartz, University of Southern California, and author of It's So French! Hollywood, Paris and the Making of Cosmopolitan Film Culture and Spectacular Realities, 'There is plenty to engage with in Iskin's analysis of late nineteenth-century consumer culture and its explicit or implicit manifestation in the works of Manet and the Impressionists. With contributions made at the levels of both background context and analysis of key works, the book is a welcome addition to the literature in this area and has something to offer readers who are new to, or well acquainted with, the field of French avant-garde painting of the late nineteenth century.' Kathryn Brown, Canadian Art Review, "This is a thought-provoking book that introduces many new ideas and makes new connections... It is an important resource for scholars of social, cultural, and art history as well as gender studies of the nineteenth century, while the extensive notes and works cited sections will be a valuable asset for studies of all types of consumer culture in Paris." -Charlene Garfinkle, H-Women, H-Net Reviews. March, 2009., 'Ruth Iskin's book has an ambitious goal: to re-establish the links between consumer culture and avant-garde art in late-nineteenth-century France ... The author's impressive parade of primary sources forces a new engagement with the works discussed no small feat considering the existing wealth of scholarship on Impressionism, which includes her own work.' Natasha Ruiz-Go'mez, The Artbook, "This is a wide-ranging, interesting and often original book. Its central argument is that Impressionist painting not only engaged with consumer culture but functioned as an agent in the shift towards its modern ubiquity." --Robert Lethbridge, Journal of European Studies 2008, "This ambitious and revisionist book is sure to generate reappraisals of the Impressionist movement, the oeuvre of its individual artists and women's place in the public sphere of the late nineteenth century." --Heather Belnap Jensen, French Studies, Spring, 2009, This is a wide-ranging, interesting and often original book. Its central argument is that Impressionist painting not only engaged with consumer culture but functioned as an agent in the shift towards its modern ubiquity.' Robert Lethbridge, Journal of European Studies|9780521840804|, There is plenty to engage with in Iskin's analysis of late nineteenth-century consumer culture and its explicit or implicit manifestation in the works of Manet and the Impressionists. With contributions made at the levels of both background context and analysis of key works, the book is a welcome addition to the literature in this area and has something to offer readers who are new to, or well acquainted with, the field of French avant-garde painting of the late nineteenth century. --Kathryn Brown, University of Kent, Canterbury United Kingdom|9780521840804|, 'Ruth Iskin's book has an ambitious goal: to re-establish the links between consumer culture and avant-garde art in late-nineteenth-century France … The author's impressive parade of primary sources forces a new engagement with the works discussed - no small feat considering the existing wealth of scholarship on Impressionism, which includes her own work.' Natasha Ruiz-Gmez, The Art Book, "This ambitious and revisionist book is sure to generate reappraisals of the Impressionist movement, the oeuvre of its individual artists and women's place in the public sphere of the late nineteenth century." -Heather Belnap Jensen, French Studies, Spring, 2009, 'This ambitious and revisionist book is sure to generate reappraisals of the Impressionist movement, the oeuvre of its individual artists and women's place in the public sphere of the late nineteenth century.' Heather Belnap Jensen, French Studies, "This is a wide-ranging, interesting and often original book. For specialist 'consumers' of nineteenth-century culture, this book is a compulsory purchase." --Journal of European Studies, 'Impressionist painting and Parisian consumer culture are both identified with the emergence of the 'new' or modern city of the 1860s and 1870s. Ruth E. Iskin's book offers a comprehensive, nuanced and persuasive account of the intersection and mutual dependency between the two in shaping the visual culture of the time. An important book which sheds new light on modern formations of gender, fashion, consumption, art and national identity.' Whitney Chadwick, author of Women, Art, and Society, 'With a clear, elegant prose style, Ruth E. Iskin attends to details of social history as she analyzes the development of impressionist pictorial themes and figural types that captured for art the lived reality and the projected ideals of late-nineteenth-century Parisian society. This is a remarkably informative book, especially with regard to impressionist images of women … so central to the advanced art of the era.' Richard Shiff, University of Texas, Austin, and author of Czanne and the End of Impressionism, 'This is a thought-provoking book that introduces many new ideas and makes new connections ... It is an important resource for scholars of social, cultural, and art history as well as gender studies of the nineteenth century, while the extensive notes and works cited sections will be a valuable asset for studies of all types of consumer culture in Paris.' Charlene Garfinkle, H-Net Reviews
Table of Content
1. Introduction: Impressionism, consumer culture and modern women; 2. Selling, seduction, and soliciting the eye: Manet's Bar at the Folies-Bergère; 3. Degas's dazzling hat shops and artisanal atelier: consumers, milliners and saleswomen, 1882-1910; 4. Inconspicuous subversion: Parisian consumer culture in 1870s city views; 5. Nature and marketplace: Zola, Pissarro, and Caillebotte; 6. The chic Parisienne: a national brand of French fashion and femininity.
Copyright Date
2006
Target Audience
Scholarly & Professional
Topic
General, European, History / Modern (Late 19th Century to 1945), Subjects & Themes / Human Figure
Lccn
2006-013626
Dewey Decimal
759.4/36109034
Dewey Edition
22
Illustrated
Yes
Genre
Art
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