Week 24: Wednesday, April 25, 2018
Art in the New Republic
The Judgement of Paris:The Revolutionary Decade that Gave the World Impressionism,
Walker and Company paperback,
From Publishers Weekly.
King (Michelangelo and the Pope's Ceiling) presents an engrossing account of the years from 1863—when paintings denied entry into the French Academy's yearly Salon were shown at the Salon des Refusés—to 1874, the date of the first Impressionist exhibition. To dramatize the conflict between academicians and innovators during these years, he follows the careers of two formidable, and very different, artists: Jean-Louis-Ernest Meissonier, a conservative painter celebrated for detailed historical subjects, and Édouard Manet, whose painting Le Déjeuner sur l'herbe caused an uproar at the Salon des Refusés. Many other artists of the day, among them Courbet, Degas, Morisot, Monet and Cézanne, are included in King's compelling narrative, and the story is further enhanced by the author's vivid portrayal of artistic life in Paris during a turbulent era that saw the siege of the city by the Prussians and the fall of Napoleon III. An epilogue underscores the irony of the tale: after his death, Meissonier quickly fell from favor, while Manet, whose paintings were once judged scandalous, was recognized as a great artist who set the stage for Impressionism and the future of painting. Illus. not seen by PW. (Feb.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
From Bookmarks Magazine
Ross King has an impressive track record chronicling the transformative nature of genius. His Brunelleschi's Dome and Michelangelo and the Pope's Ceiling (**** Mar/Apr 2003) wrapped their author's extensive knowledge of European culture in brisk, compelling prose. King continues his march through art history's great moments in The Judgment of Paris and emerges with another triumph. Though the central drama is focused on Manet and Meissonier, The Boston Globe criticizes the book as "at heart an institutional, rather than artistic history." But it is King's sympathy for the fortunes of both Meissonier and Manet that affords him the narrative backbone to paint such a far-reaching story onto one interesting canvas.