Th Odore Rousseau 1812 1867

Théodore Rousseau (1812–1867), arguably the most important French landscape artist of the mid-nineteenth century and a leader of the so-called Barbizon School, occupies a crucial moment of transition from the idealizing effects of academic painting to the radically modern vision of the Impressionists. He was an experimental artist who rejected the traditional historical, biblical, or literary subject matter in favor of “unruly nature,” a Romantic naturalism that confounded his contemporaries with its “bizarre” compositional and coloristic innovations. Lavishly illustrated and thoroughly documented, this volume includes five essays by experts in the field. Scott Allan and Édouard Kopp alternately examine Rousseau’s diverse techniques and working procedures as a painter and as a draftsman, as well as his art’s mixed economic and critical fortunes on the art market and at the Salon. Line Clausen Pedersen’s essay focuses on Mont Blanc Seen from La Faucille, Storm Effect, an early touchstone for the artist and a spectacular example of the Romantic sublime in the Ny Carlsberg Glyptotek’s collection. This catalogue accompanies an eponymous exhibition on view at the J. Paul Getty Museum from June 21 to September 11, 2016, and at the Ny Carlsberg Glyptotek from October 13, 2016, to January 8, 2017.

The 19th century in France witnessed the emergence of the structures of the modern art market that remain until this day. This book examines the relationship between the avant-garde Barbizon landscape painter, Théodore Rousseau (1812-1867), and this market, exploring the constellation of patrons, art dealers and critics who surrounded the artist. It argues for the pioneering role of Rousseau, his patrons and his public in the origins of the modern art market, and, in so doing, shifts attention away from the more traditional focus on the novel careers of the Impressionists and their supporters. Drawing on extensive archival research, the book provides new insight into the role of the modern artist as professional. It provides a new understanding of the complex iconographical and formal choices within Rousseau's work, rediscovering the original radical charge that once surrounded the artist's work and led to extensive and peculiarly modern tensions with the market place.

These paintings - dreams of nature as a web of life in which human beings occupy a peripheral role - overwhelmed Rousseau's contemporaries with their novel light effects, original perspective, and "sheer profusion of visual sensation." While Baudelaire considered them superior to even Corot's works, they baffled art critics and have never fit convincingly into the received categories of naturalism, "pre-Impressionism," or modernism."--Jacket.

This is the newest volume in the National Gallery of Art's Systematic Catalogue, a series that presents and describes the Gallery's holdings of painting, sculpture, photographs, and decorative arts. This richly illustrated volume includes the work of such early nineteenth century French painters as Ingres, Courbet, Gericault, Delacroix, and Millet.

More than 100 works by artists such as Jean-Baptiste-Camille Corot (1796-1875), Théodore Rousseau (1812-1867), Jean-François Millet (1814-1875), Claude Monet (1840-1926), Gustave Le Gray (1820-1884), and Eugène Cuvelier (1837-1900) explore the French phenomenon of plein-air (open-air) painting and photography in the region of Fontainebleau, a pilgrimage site for aspiring landscape artists. The forest also inspired a new school of landscape photography, as figures such as Gustave Le Gray and Eugène Cuvelier, working side by side with painters, explored the camera's potential to reveal nature in a fresh and unadorned manner. The exhibition also includes 19th-century artists' equipment and tourist ephemera.

With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers. The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's expressive responses to the natural environment. Essays by the curators examine Courbet's distinctly modern practice of landscape painting. Mary Morton's essay situates his landscapes in relation to his work in other genres, his critical reputation, and his role in establishing a new pictorial language for landscape painting. Charlotte Eyerman's essay investigates how later generations of nineteenth- and twentieth-century artists responded to Courbet's example. The catalogue also includes an essay by Dominique de Font-Reaulx, curator of photographs at the Musee d'Orsay, on the relationship between Courbet's work and landscape photography of the 1850s and 1860s. With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers. The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's expressive responses to the natural environment. Essays by the curators examine Courbet's distinctly modern practice of landscape painting. Mary Morton's essay situates his landscapes in relation to his work in other genres, his critical reputation, and his role in establishing a new pictorial language for landscape painting. Charlotte Eyerman's essay investigates how later generations of nineteenth- and twentieth-century artists responded to Courbet's example. The catalogue also includes an essay by Dominique de Font-Reaulx, curator of photographs at the Musee d'Orsay, on the relationship between Courbet's work and landscape photography of the 1850s and 1860s.

With Camille Corot and Jean-François Millet, Théodore Rousseau (1812–67) ranks as one of the preeminent masters of the Barbizon School, a group of nineteenth-century French artists whose preferred subject was the primeval wooded landscape of the forest of Fontainebleau. The Barbizon School painters were greatly influenced by the Romantic movement, producing works inspired by the powerful forces of nature. Surprisingly, despite his pivotal role in French art and his profound impact on the development of landscape painting, Rousseau has never before been the subject of a monographic exhibition in the United States.00Comprising seventy works from private and public collections, including the Morgan Library & Museum, this exhibition will consider the artist's wide-ranging achievements as a draftsman and his particular approach to the open-air oil sketch. It will trace Rousseau's path to Barbizon, from his early oil sketches in the Ile-de-France, Auvergne, and Normandy, to his mature works in the Forest of Fontainebleau. Rousseau's works—some bucolic and evocative of a simpler, pre-industrial age, others brooding, moody, and redolent with lingering vestiges of Romanticism or testaments to the haunting majesty of the natural world—are both appealing and instructive. Collectively, this selection chronicles Rousseau's artistic practice and highlights his contribution to the shifting conception of landscape in the wake of the Industrial Revolution. The show will explore the range of techniques and handling of media, and the sense of poetic melancholy that permeates Rousseau's art. A fully illustrated scholarly catalogue accompanies the exhibition. 0Exhibition: The Morgan Library & Museum, New York, U.S.A. (26.09.2014-18.01.2015).