Americans in Paris 1860-1900

by Kathleen Adler, Erica E. Hirshler, H. Barbara Weinberg

As the center of the art world in the late nineteenth century, Paris was a magnet for American art students and artists. They flocked to the studios of French artists like Jean-Léon Gérôme, William Bouguereau, and others, dreamed of showing their work at the annual Paris Salon, and watched intently as new styles such as Impressionism began to take hold. Hardly an American painter was unaffected by developments in Paris, and even those who chose not to study there wanted their work to be affirmed by French audiences and taste makers.
This beautifully illustrated book traces the role of American artists in Paris from the Salon des Refusés, in 1863, to the emergence of a uniquely American style of painting at the turn of the century. It includes iconic images by John Singer Sargent, James Abbott McNeill Whistler, Mary Cassatt, and Winslow Homer, and by many other artists whose names and work were more widely known then than now.
Engaging essays written by notable scholars explore why artists were drawn to Paris, how they responded to what they found there, and what they retained of their experience. In addition, the significance of the Expositions Universelles , the French view of American artists in Paris, and the role these artists played in shaping the great American collections of modern French painting are discussed. Featuring more than 100 paintings, the essays are followed by artists’ biographies, an illustrated, annotated list of works, and a complete bibliography.

Genres: Art, Nonfiction, France, Art History, 19th Century, Reference, Paris

288 pages, Hardcover

First published January 1, 2006

Reviews

[Jose · Rating 4 out of 5]

This book is a great companion book to "The Greater Journey, Americans in Paris" by David McCullough which is a bit short on illustrations of the american painters mentioned. This book is really a catalogue of the paintings exhibited at the National Gallery during it's Americans in Paris exhibition. It contains, however, a few scholarly essays on the matter. The illustrations are fantastic. The essays are brief and cover a few aspects of the french influence on american art in the nineteenth century and beginning of the twentieth.Like many catalogue writing, it lacks cohesion and a proper narrative arch as a whole but some important ideas are fleshed out by the different authors.

Most interesting to me was the descriptions of the need of american painters to travel and live in France and absorb the art taught in the parisian academies; how they were eager participants in the Salon first , and the "Nationale" later; how they mingled with both french masters and their own american compatriots during summers in the country, academy lessons and social interactions; the assimilation of the french art to the point were it was impossible to tell the difference; the french mania that possessed american collectors spurred by the desire to build vast collections of european art to the detriment sometimes of native artists and the eventual acceptance and predominance of american art and influence.

Many famous figures like McNeill Whistler, Thomas Eakins, Singer Sargent, Mary Cassatt, Childe Hassam are easily recognizable in this group but other less known artists (many females as this was a great turning point for women in the arts) jump out of the pages. Cecilia Beaux, Julius LeBlanc Stewart, T. Robinson, Mary Fairchild and many of the other lesser know names cover the gamut from complete assimilation of the french style to dogged independence albeit always referencing the Old World's art of the moment.

[Carol · Rating 5 out of 5]

One of the best exhibits I've seen of Impressionist art (exhibit at the MFA in Boston). Whistler's Arrangement in Grey and Black, No. 1 -- most impressive. Love all of John Singer Sargent's work. Too many to list -- excellent exhibit.

[Margaret Adams]

I bought this book in a fit of extravagance after spending a day at the exhibit at The Museum of Fine Arts in Boston in the summer of 2006. Re-read it this afternoon and I'm surprised at how well I remember actually standing in the exhibit. Transporting.