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OBSERVATION AND REFLECTION: CLAUDE MONET by Joel Isaacson; MONET'S YEARS AT GIVERNY: BEYOND IMPRESSIONISM by Harry N. Abrams Review by: Scott Stapleton ARLIS/NA Newsletter, Vol. 6, No. 6 (NOVEMBER 1978), p. 111 Published by: The University of Chicago Press on behalf of the Art Libraries Society of North America Stable URL: http://www.jstor.org/stable/27946062 . Accessed: 14/06/2014 11:04 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact email@example.com. . The University of Chicago Press and Art Libraries Society of North America are collaborating with JSTOR to digitize, preserve and extend access to ARLIS/NA Newsletter. http://www.jstor.org This content downloaded from 220.127.116.11 on Sat, 14 Jun 2014 11:04:39 AM All use subject to JSTOR Terms and Conditions and the prevalent painting the Madonna types of Nikopoia, of fresco of the technique ical types (e.g., is to be Smart on commended scenes as graphical depicted near to each other whenever to some to be more be said son's could extent, study which, in the Isaacson with stylistic problems. book concerned Indeed, to the point: and Reflection?is the title?Observation especially to the the observation direct refers to Monet's study of nature, iconograph Hodegetria). the same icono of the placing artists different in the possible or across by of plates. section the painters. some However, the clarifying of aspects The process. treatment Smart's of separation servations vas from detract cio from those on Simone Martini and the Lorenzetti (presum ably in the interestof chronology) tends to dis; join the analy sis of the Sienese school. This chapter also disrupts the flow he (Smart) had been developing from the duecento and Roman to Giotto. school At* concepts, paintings, author the times or not be or emphasis. illustration Other Isaacson's to the reader him or interesting investigate sources. to the relevant controversial scientific Bruce & Giotto publication, expensive Isaacson cento text serves role as an a valuable net precursors that Giotto to balance helps of the sole originator attributions (e.g. Stefaneschi was troversial Crucifix, Camposanto in the field but are here presented crucifixion are 18) (plate reversed. ative section. are there Otherwise of Italian Painting. and large public academic errors similar few very AND E.P. Dutton, New York: illus. (some map, col.), New York. MONET'S in ISM. N.Y.: YEARS The difference While a narrower in these slice its particulars, of Monet's the catalog p., ISBN index. be described as anecdotal contemporaneous As work. was Monet on the whole photographs at Giverny. book Isaacson's of which The 48 are bibliography has more repro painting in color) and more compar in Isaacson is adequate plates have been with reproduced a minimum of addi quality of the paper that tends to intensifycolor the general approach of the Isaacson is monograph clearly, is a subject on more which Scott Stapleton University of Chicago Library BEYOND IMPRESSION N. by Harry Jullian, Philippe. THE ORIENTALISTS: 1978. Abrams, is not two books Museum one of Art catalog therefore more life, and also takes a different ERN 1977. of biography, in contrast SCENES. 210 p. EUROPEAN PAINTERS New York: Oxford, Eng.: Phaidon, illus. index, (some col.) bibliog., ISBN 0 7148 17805. (Orig. pub. as Us Fribourg, Sw.: Office du Livre) $49.95. scope is indeed revealing of point view in regarding the man and his work. This point of view could which around of Art. distrib. between themes paintings. Monet himself, analysis. to be done. work needs 240 1978. Press, note, bibliographic the Metropolitan Isaacson with Ste comparing Monet and dissertation, see a much can broader fore useful in visualizing a series of paintings, might be con sidered for purchase regardless of the lack of more probing 180 p., illus. (some col.), map, biblio. ISBN 8109 2183 9 (pbk), 8109 13364, LC78328. $9.95 (pbk), $17.50. alone. con remarks (In reprinted 1974) one $39.95. AT GIVERNY: the Museum; art, the Isaacson, has but their simi its rewarding perceptions are more at first in general, than one would larities, apparent and its the number realize. The Met in catalog, specialization of plates of paintings done closely upon one another, and there MONET. CLAUDE Phaidon Museum Metropolitan is more. of Monet's and REFLECTION: 07148 1781 3, LC7793079. there And his own in color. (150, illustrations. Because libraries. Oxford: the artifice very similar toWilliam Seitz's Claude Monet (N.Y., 1960) li braries on a tight budget which have that publication might wish to defer on the purchase of this new book. Each, the Seitz Joel. Isaacson, are values. Laurie Whitcomb Chicago Public Library OBSERVATION about tional glare?a the Dawn For that suggests overall the color book on Giotto should probably have been included in the Select Bibliography on Giotto, in addition to a reference in the gen eral and, though less than one might at firstexpect. In both publications Cole's Bruce himself speaking plates duced Annoying editorial errors: On page 18 the plate references to the Cimabue crucifixion (plate 17) and the "Master of St. Francis" these The Met catalog has more of these photographs and all of its Santa Maria altarpiece, are shared frescoes) by others at a more level. basic Novella with there is is useful nevertheless. here, but what are well-produced. Both contain Both publications his beloved his surroundings, of the man, garden impression con His possible the Renaissance, of tion viewpoint. the all address reticent to theorize about his painting, there is limited applica late due His emphasis on the role of Cavallini and theRoman school as to Giotto if we since Oddly enough, theMet catalog, for all of itsmore limited ambition, offers real insight insofar as it frequentlyquotes Mo illustration alternative especially Critics, (Cambridge, and range of polarities critics discussed Monet's also tends to be higher.Unfortunately, it isno longer inprint. Smart's he does, His Florentine of the ancestry indicated student, he has better of Oertal's The and trecento painting. quality one nobler the not does Isaacson inquiry? it is a guess at best.) though ven Levine's Press Garland Painting 1280 to 1375, is more clearly-written (compare the discussion of theMadonnas by Cimabue, Duccio, and Giotto) and possibly a better introduction to the period for the general reader despite its more restricted scope. Although Robert Oertal's Early Italian Painting to 1400 is aimed at a fairly ad vanced less, cerningMonet's paintings of his wife and son in 1873-74, p. 20, he toyswith a psychological reason for themood of the painting, to mind less Cole's and for the continuing strugglewith his craft, is very good, but even Art John White's for comparison. covers more in Italy to 1400, of course 1250 and Architecture the borrowings than painting and can therefore better describe of the time. artistic climate between the arts and the general come art is clearly approach What plates. Three other books in English covering the same time period in Italian catalog indeed, cannot given the brevity of his essay and notes to the by points view settles What is themeaning of such a work? Of the haystacks? Of the water lilies?How is it thatMonet seemed largelyunaffected by historical events surrounding him? What is the nature of his work are the smallness and muddy quality of some of the re productions, making it difficult to see what the author is dis cussing. It is particularly regrettable that there is a total lack of footnotes throughout the entire book since theywould allow directing to con route as well itself. However, it is the more hazardous since, in this case, work?with its it is in the very nature of Monet's we tend to be confounded. apparent superficial simplicity?that to this drawbacks serious can we which through The Met oeuvre. can of stuckwith biography alone we would never appreciate the work the general reader or beginning studentwithout providing ade quate the ob though in its biographical details it is richer.Which is better? to familiar framework understand to references makes that would traditions while impressions, in which he transformed the limitations into a pictorial reality, given Isaacffon wishes paint and even subject matter. struct a conceptual Monet's on Duc the chapter and re the visual of analysis to the manner quasi-scientific refers flection This facilitates the comparison of the stylistic approaches of to Isaac Dutton, appendices. Orientalistes, 1977, The prolific Philippe Jullian has written on yet another aspect 19th-century art, this time on those to the North African that were attracted of OF EAST E.P. Ill This content downloaded from 18.104.22.168 on Sat, 14 Jun 2014 11:04:39 AM All use subject to JSTOR Terms and Conditions artists, primarily and Near Eastern French, themes