The authors explore why artists were drawn to Paris, how they responded to what they found there, and what they retained of their experience. Includes iconic images by Sargent, Whistler, Mary Cassatt and Winslow Homer, together with the work of a number of painters whose names are less familiar. Beautiful full color renditions of paintings done by American artists in Paris during the years 1860-1900 when Paris was the center of the art world and a magnet for American art tudents and artists. Binding is tight and square, pages and edges are clean and bright - no names, writing or marks. Clean large format softcover book - size approx. Rodolphe Rapetti is head curator of heritage and Deputy Director at the head offices of the Musées de France, in Paris.Ĭhristopher Riopelle is curator of Nineteenth-century Paintings at the National Gallery, in London.National Gallery Company Limited, 2006.

Barbara Weinberg is curator of American Paintings and Sculpture at the Metropolitan Museum of Art, NewYork.ĭavid Park Curry is head curator in the Department of Decorative Arts and the Department of American Sculpture and Painting at the Museum of Art, in Baltimore. Hirschler is a curator of Paintings and curator in the Department of American Art at the Museum of Fine Arts, Boston. Kathleen Adler is the former Director of Education at the National Gallery, London.Įrica E. Contributions by David Park Curry, Rodolphe Rapetti, and Christopher Riopelle provide further invaluable background information about this fascinating period. Barbara Weinberg, who explain why these artists came to Paris in the first place, how they reacted to what they found, and what they absorbed from this experience. This particularly well researched book examines the role played by American artists in Paris from the Salon des Refusés in 1863 up until the emergence of a recognizably American style of painting.The over one hundred works are analysed in three amply illustrated essays by Kathleen Adler, Erica E. Few were the American painters who were able to escape the lure of Paris, and even those who chose not to come and study in the capital were keen to see their efforts applauded by French opinion.

They would turn up en masse at the studios of artists like Gérôme and Bougeureau, aspiring to exhibit their works at the annual Paris Salon and following with admiration (and sometimes in horror) developments in the fine arts, such as the irresistible rise of impressionism. In the nineteenth century, Paris was at the centre of the art world and an unstoppable attraction for American students and artists, especially after 1860.

Américains à Paris by Kathleen Adler