Auguste Renoir

Roger Benjamin

Sylvie Patry

Claudia Einecke

This volume is a biography of Pierre-Auguste Renoir (1841-1919). Renoir was a French artist who was a leading painter in the development of the Impressionist style. This work dedicates itself to the final three decades of Renoir's career in which the painter turned away from Impressionism and toward a more decorative approach informed by his own idiosyncratic interpretation of art history. During this period, Renoir was initially looking at painters such as Rubens, Titian and Raphael, and dedicating himself to cheery subjects such as bathers, domestic idylls and landscapes that were influenced by both classical mythology and by his relocation to the South of France.

Renoir in the 20th Century

Lynne Thornton

Ursula Prunster

Published to accompany the exhibition held at the Art Gallery of New South Wales, Sydney Australia, 6 December 1997 - 22 February 1998, and the Auckland City Art Gallery, 20 March - 7 June 1998.

Delacroix to Klee

Orientalism

Sterling and Francine Clark Art Institute

David Prochaska

Renoir made two journeys to Algeria, in 1881 & 1882. He was the only Impressionist to paint Orientalist themes, but this aspect of his work has been little studied. This book places Renoir in the unfamiliar context of the French Orientalist tradition.

Renoir and Algeria

Benjamin's rediscovery of the important Society of French Orientalist Painters provides a critical context for understanding a rich body of work, including that of indigenous Algerian artists whose careers have never before been discussed in English.".

Art, Colonialism, and French North Africa, 1880-1930

Orientalist Aesthetics

John Klein

James D.. Herbert

Alvin Martin

The Fauve Landscape

Pour bien comprendre le jaurésisme, il convient, selon l'auteur, de se poser les questions suivantes : Qu'est-ce que l'être ? Qu'est-ce que l'humanisme ou, plus précisément, qu'est-ce que l'humanisme personnaliste ? Qu'est-ce que le socialisme républicain ? Comment le socialisme s'imposera-t-il ? Se situant dans la lignée d'Aristote, Jaurès ne conçoit pourtant pas l'être comme étant Acte pur : l'Etre est en acte, et Jaurès l'identifie à Dieu ; il est en puissance et c'est le monde, en marche vers l'Etre en acte par nécessité de nature et par décision de la volonté humaine. L'homme est un être créateur, appelé à constituer une humanité harmonieuse, c'est-à-dire une communauté de personnes libres et vivifiées par l'actualisation de cette valeur fondamentale qu'est la justice. Et c'est l'édification de la société socialiste qui apparaît comme la condition de cette avancée, car à la différence du capitalisme qui n'est, selon Jaurès, qu'un système économique, le socialisme est, pour lui, une révolution morale qui doit être servie et exprimée par une révolution matérielle, révolution qui doit se faire non par la violence mais par une action démocratique axée sur l'opposition à la classe capitaliste et orientée en permanence vers l'idéal républicain.

un philosophe humaniste et personnaliste, un socialiste réformiste et révolutionnaire

Jean Jaurès

Annotation This is the first history of French Orientalist art in the era of high French modernism . It examines colonial art, critics, and art institutions across colonizing and indigenous cultures and how they were influenced by French Colonial policy.

Cristina Ashjian

Paul Klee experienced his 1914 trip to Tunisia as a major breakthrough for his art: “Color and I are one,” he famously wrote. “I am a painter.” Kandinsky and Klee in Tunisia sets the scene for Klee’s breakthrough with a close study of the parallel voyage undertaken in 1904–5 by Wassily Kandinsky and Gabriele Münter, who would later become Klee's friends. This artist couple, then at an early stage in their celebrated careers, produced a rich body of painting and photography known only to specialists. Paul Klee’s 1914 trip with August Macke and Louis Moilliet, in contrast, is a vaunted convergence of cubism and the exotic. Roger Benjamin refigures these two seminal voyages in terms of colonial culture and politics, the fabric of ancient Tunisian cities, visual ethnography, and the tourist photograph. The book looks closely at the cities of Tunis, Sousse, Hammamet, and Kairouan to flesh out a profound confrontation between European high modernism and the wealth of Islamic lifeways and architecture. Kandinsky and Klee in Tunisia offers a new understanding of how the European avant-garde was formed in dialogue with cultural difference.

Roger Benjamin

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