Collecting Impressionism

A Reappraisal of the Role of Collectors in the History of the Movement

  • Edited by Ségolène Le Men
    and Félicie Faizand de Maupeou
  • Binding Paperback with flaps
  • Size 17 x 24 cm
  • Pages 304
  • Illustrations 140
  • Language English
  • Year 2022
  • ISBN 9788836647453
  • Price € 35,00  € 33,25
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Collectors played an essential yet misunderstood role in the success of Impressionism. Though not immune to economic and social woes, they were often engaged in the defence of this artistic movement that they had helped come to life, establish or make known, each in their own time. It is this group of committed collectors that the present work seeks to examine. From the “making” of a collection to its donation to a museum, from supporting artists within the borders of France to publicising the movement internationally, from the first intimate private showings to the questions raised by the presentation of these works in museums, collectors were present at every stage of the development of Impressionism, from the dawn of the movement to the middle of the twentieth century. This volume aims to re-examine and reassess the importance of these collectors in the political, social and economic contexts of their times through the contributions of sixteen international specialists. Depeaux, De Nittis, the Palmers, O¯hara, Bührle, Caillebotte, Fayet: whether they are the subjects of dedicated case studies or part of a broader discourse, the multiplicity of profiles of these collectors and the paths they followed will allow readers to gain a better understanding of their importance in the history of the Impressionist movement.


Collecting Impressionism: Here or There?
Ségolène Le Men and Félicie Faizand de Maupeou

Impressionism at Home: “The Best Exhibition Is the One that Takes Place in the Amateur’s Apartment”
Ségolène Le Men

Impressionism Defined by Collections: From the Painter to the Art World

Building Impressionist Collections: Between Fraternity and Sales Strategies
Gwendoline Corthier-Hardoin

The De Nittis, Collectors and “Collected”
Fausto Minervini

Gustave Fayet’s Impressionist Collection
Alexandre D’Andoque

An Impressionist Document: The First Version of the Exhibition Catalogue of the Société Anonyme des Artistes Peintres, Sculpteurs, Graveurs Etc… Paris, 1874
Anne Distel

Relative Independence: The Determining Role of Collectors at the Fourth “Impressionist” Exhibition in 1879
Catherine Méneux

Impressionism in Collector Directories, in France and Abroad (1878–1937)
Léa Saint-Raymond

The Spread of Impressionism through Collections: From One Continent to Another

French Impressionism in Switzerland: A Look Back
Lukas Gloor

Championing Impressionism in the American Midwest: Sara Tyson Hallowell and the Formation of the Bertha and Potter Palmer Collection
Carolyn Kinder Carr

How Did Hollywood View Impressionism?
Théo Esparon

The Spread of Impressionism and Collectors in China from Sun Peicang to Modern Day
Marie Laureillard

Impressionism and the Construction of Identities: From Collections to Museums

The École de Rouen Created by Its Collectors
Noémie Picard

Provincialising Impressionism: The Davies Sisters, French Impressionism and Welsh Identity in 1913
Samuel Raybone

The Ohara-Kojima Collection: Western Art for Early-Twentieth-Century Japan
Chikako Takaoka

Impressionist Collection – Where Now?
Anne Higonnet

Timeline 1850–1960
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