CFP: Writing Impressionism Into and Out of Art History (London, 3-4 Nov 17)


A man and woman walking under an umbrella in a Paris road, other walkers-by; costumes of ca. 1877.
Gustave Caillebotte – Paris Street; Rainy Day, 1877; Art Institute of Chicago

London, The Courtauld Institute of Art, November 3 – 04, 2017
Deadline: Feb 1, 2017


Impressionism continues to be celebrated in blockbuster exhibitions worldwide: in the last few years alone, Impressionism, Fashion, Modernity (Art Institute of Chicago, Musée d’Orsay, and Metropolitan Museum of Art, 2013); Gustave Caillebotte: The Painter’s Eye (Kimbell Art Museum and National Gallery of Art, Washington, D.C., 2015-2016); and Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market (Musée du Luxembourg, National Gallery, London, and the Philadelphia Museum of Art, 2015). Since 1878 when Théodore Duret published his Histoire des peintres impressionnistes, Impressionism has occupied a central place in the canon of art history. That place now seems to be called into question, however. New transnational approaches to nineteenth-century art history have troubled the perpetuation of Francocentric histories. As the field’s attention has increasingly turned to places outside France—Britain, the United States, Australia, and beyond—Impressionism has been pushed to the margins. Though Impressionism has long benefited from powerful and compelling narratives via the social history of art, these readings have been worked through so extensively that it warrants asking whether this area of art history may be exhausted for the moment.

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