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Vineland (Classic, 20th-Century, Penguin)
Thomas Pynchon
Tristes Tropiques
John Weightman, Doreen Weightman, Patrick Wilcken, Claude Lévi-Strauss
Richard III
William Shakespeare
The Dwarf
Alexandra Dick, Pär Lagerkvist
The Collected Poems of Wilfred Owen
Wilfred Owen, Cecil Day-Lewis
Richard Wolin
Giotto to Dürer: Early Renaissance Painting in the National Gallery
Jill Dunkerton, Susan Foister, Dillian Gordon, Nicholas Penny
Michel Foucault: Beyond Structuralism and Hermeneutics
Hubert L. Dreyfus, Paul Rabinow
Gravity's Rainbow
Thomas Pynchon
A Gravity's Rainbow Companion: Sources and Contexts for Pynchon's Novel
Steven Weisenburger

Valenciennes, Daubigny, and the Origins of French Landscape Painting

Valenciennes, Daubigny, and the Origins of French Landscape Painting - Michael Marlais, John Varriano, Wendy M. Watson This is a very nice little book that addresses the origins of 19th century French Landscape painting -- that is, the origins of Camille Corot. A catalogue of an exhibit put on at Mount Holyoke College in 2004, this volume is really about the confrontation between two paintings: Pierre-Henri de Valenciennes' Classical Greek Landscape with Girls Sacrificing Their Hair to Diana on the Bank of a River (1790) - first picture; and Charles-François Daubigny's The Water's Edge: Optevoz (1856) - second painting. Valenciennes continues and culminated the tradition deriving from Poussin and Claude Lorrain - it was Valencienne who was the teacher of the men who taught Corot; who established the Prix de Rome for historical landscape painting (first won by Achille-Etna Michallon, Corot's first great teacher, who died tragically young. Daubigny, on the other hand, with his shift away from the Neoclassical to a far greater naturalism, with a looser brush, was a friend and contemporary of Corot, and is classed among the Barbizon painters.





The volume contains three short essays - the first is a marvelous and brief discussion of the origins of landscape painting from the early Renaissance onwards. The second, on Valenciennes, is dull; the third on Daubigny is better. The prints themselves are only about half in color, and many are too small to allow for full appreciation -- and, given that the book is not cheap, that's why I've given it only 4 stars.