List of Figures ix About the Editor xiv Notes on Contributors xv Series Editor’s Preface xxiii Acknowledgments xxv Introduction 1André Dombrowski Part I What Was Impressionism? What Is an Impression? Definitions and New Directions 9 1 Impressionism and Criticism 11Marnin Young 2 Rethinking the Origins of Impressionism: The Case of Claude Monet and Corner of a Studio 27Mary-Dailey Desmarais 3 Monet in the 1880s: The Motif in Crisis 43Marc Gotlieb 4 As a Glass Eye: Manet’s Flower Paintings 61Briony Fer 5 Figuring Perception: Monet’s Leap into Plein Air, 1866–1867 75Michael Marrinan 6 Pater, Impressionism, and the Undoing of Sense 93Jeremy Melius 7 The Impressionist Mind: Modern Painting and Nineteenth-Century Readerships 107Ségolène Le Men Part II Painting as Object: Tools, Materials, and Close Looking 127 8 Impression, Improvisation, and Premeditation: New Insights into the Working Methods and Creative Process of Claude Monet 129Gloria Groom and Kimberley Muir 9 Piquer, Plaquer: Cézanne, Pissarro, and Palette-Knife Painting 146Nancy Locke 10 John Singer Sargent’s Lady with a Blue Veil and the Matter of Paint 162Susan Sidlauskas Part III New Visual Media and the Other Arts 181 11 Painting Photographing Ballooning: At the Boulevard des Capucines 183Carol M. Armstrong 12 Series and Screens: Seeing Monet’s Cathedrals through the Lens of the Cinematograph 201Marine Kisiel 13 Critical Impressionism: A Painting by Mary Cassatt and Its Challenge to the Social Rules of Art 219Anne Higonnet 14 James McNeill Whistler: Veiling the Everyday 234Caroline Arscott Part IV Impressionism and Identity 251 15 Cassatt’s Alterity 253Hollis Clayson 16 Bazille, Degas, and Modern Black Paris 271[Excerpt from Posing Modernity: The Black Model from Manet and Matisse to Today, Yale University Press, pp. 70–83, with a new preface. Reprinted with permission from Yale University Press]Denise Murrell 17 Expert Hands, Infectious Touch: Painting and Pregnancy in Morisot’s The Mother and Sister of the Artist 287Mary Hunter 18 Painting the Prototype: The (Homo)Sexuality of Bazille’s Summer Scene 304Jonathan D. Katz, with André Dombrowski Part V Public and Private 323 19 Revival and Risk: Renoir, Fragonard, and the Epistolary Theme 325Nina L. Dubin 20 “The Little Dwarf and the Giant Lady:” At Home with Gustave Caillebotte 343Felix Krämer 21 Renoir, Impressionism, and the Value of Touch 357Martha Lucy 22 Morisot’s Urbane Ecologies 375Alison Syme 23 Incorporating Impressionism: The Société anonyme and the First Impressionist Exhibition in 1874 393André Dombrowski Part VI World Impressionism 415 24 “Plume Mania:” Degas, Feathers, and the Global Millinery Trade 417Simon Kelly 25 Home and Alienation in the Colonies: Auguste Renoir in Algiers, Jean Renoir in India 435Todd Porterfield 26 Impressionism in Japan: The Awakening of the Senses 452Takanori Nagaï 27 Impressionism in Argentina: A Historiographical Discussion 466Laura Malosetti Costa 28 Turkish Impressionism: Interplays of Culture and Form 484Ahu Antmen 29 Impressionism and Naturalism in Germany: The Competing Aesthetic and Ideological Imperatives of a Modern Art 499Alex Potts Part VII Criticism, Displays, and Markets 517 30 Degenerate Art: Impressionism and the Specter of Crisis in French Painting 519Neil McWilliam 31 Impressionism through the Prism of New Methods: A Social and Cartographic Study of Monet’s Address Book 533Félicie Faizand de Maupeou 32 Against the Grain: Gustave Caillebotte and Paul Durand-Ruel’s Impressionism 547Mary Morton 33 Are Museum Curators “Very Special Clients?” Impressionism, the Art Market, and Museums (Paul Durand-Ruel and the Musée du Luxembourg at the Turn of the Twentieth Century) 566Sylvie Patry 34 The Museum of Impressionism, 1947 583Martha Ward Index 601

A Companion to Impressionism Presenting an expansive view of the study of Impressionism, this pioneering volume breaks new thematic ground while also reconsidering questions concerning the defini­tion, chronology, and membership of the impressionist movement. In 34 original essays from established and emerging scholars, this collection offers a diverse range of developing topics and new critical approaches to the interpretation of impressionist art. Focusing on the 1860s to 1890s, A Companion to Impressionism explores artists who are well-represented in impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism’s global predominance at the turn of the 20th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, as well as the movement’s exhibition and reception history. This innovative volume also includes new discussions of modern identity in Impressionism in the contexts of race, nationality, gender, and sexuality and through its explorations of the international reach and influence of Impressionism. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important addition to scholarship in this field stands as the 21st century’s first major and large-scale academic reassessment of Impressionism. Featuring essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and Argentina, this is an invaluable text for students and scholars studying Impressionism and late 19th-century European art, Post-Impressionism, modern art, and modern French cultural history.