Description

Immediate dispatch from Somerset. Nice book in great condition. Pages in excellent condition. Images are beautiful bright and vivid. No notes or highlighting. See images. Fantastic book.

About the book >.>.> The exhibition is remarkable in its scope and in its capacity to introduce Renoir’s work to a public which has not previously encountered the artist’s work through a major exhibition of his oeuvre. It also shows that the co-operation and respect of scholars and art museums are readily forthcoming for Australian undertakings of this kind and that truly global partnerships can be formed. With the association between Art Exhibitions Australia the Queensland Art Gallery guest curator Dr John House and the goodwill shown by lending institutions a remarkable exhibition has been brought to Australia and a catalogue produced whose contributors Dr House Dr Anthea Callen and Ms Kathleen Adler have made interesting and vital reassessments about Renoir and his art. The so-called ‘blockbuster’ is now a regular feature in Australian galleries and these occasions are keenly awaited by our public. The intellectual and organisational challenges of developing major exhibitions are becoming increasingly difficult and there is little doubt that their nature is likely to change if for no other reason than the reluctance of lending institutions to release their much admired works. That so many galleries were prepared to lend to this exhibition certainly reflects the high regard with which it is being viewed and this in part testifies to the international respect generally accorded to Australian galleries and the enthusiastic public response to such important exhibitions. But why Renoir for Australia? The exhibition was the idea of Dr Robert Edwards AO Chief Executive of Art Exhibitions Australia and there is no doubt that it was a good one. Australians have long maintained an interest in exhibitions of French art. Indeed it could be argued that the most significant international exhibitions shown in Australia have been French. Take for example the Herald exhibition of 1939. So much of Australias early modernism was inspired by the School of Paris at a time when Paris and London were cultural meccas for younger Australian artists interested in new ideas and certainly the Impressionists have long enjoyed an enthusiastic response from Australian audiences. Life people and nature depicted in a way which visually and emotionally removes us from certain realities creates undeniable pleasures and this exhibition promises to be no exception. (MP)