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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 Normandy Coast with its craggy coastline and medieval fishing villages has long captured the interest of artists. Its seascapes are featured in the work of Impressionist masters Monet Manet and Boudin. Its seafaring life is well-documented in the work of such writers as Victor Hugo and Guy de Maupassant. Through a stunning selection of paintings photographs and drawings The Lens of Impressionism argues that a unique convergence of forces-social artistic tech- nological and commercial-along the Normandy coast profoundly Impacted the devel- opment of early Impressionism and made Normandy a nexus for photographers and the avant-garde painters of the later nineteenth century. Many photographers worked in the region prior to or at the same time as the early Impressionists. When the Impressionist painters began their work they were already aware of the kind of images photographers could produce-how boats beaches and the sea itself could be captured. So the same iconic scenes and motifs appear in both the photographs and the paintings of the period. As author Carole McNamara writes “Impressionist painting has always endeavored to convey motion but new possibilities and solutions were presented by photography… if painters were to con- tinue to create works that had relevance to modern audiences then the expression of time-of ‘Instantaneity-would become an increasingly important consideration in their own work.” The framing dates are 1850 when artists began photographing in Normandy and the emerging Impact of photography and its aims were debated vigorously in artistic circles and 1874 the year in which Claude Monet’s painting Impression: Sunrise was exhibited marking the major new direction in French painting and the debut of Impressionism-a name initially given in critical derision. The Lens of Impressionism explores the dialogue between the two media and the backdrop against which both evolved. It presents more than 100 paintings photographs and drawings by some of the most treasured artists in the Western canon-Courbet Jongkind Manet Monet Whistler and Degas among them together with the work of such pioneering photog- raphers as Gustave Le Gray and Henri Le Secq. Carole McNamara is the Senior Curator of Western Art at the University of Michigan Museum of Art. Sylvie Aubenas is the Chief Curator Department of Prints and Pho- tographs at the Biblioth?que nationale de France. Stephen Bann of the Univer sity of Bristol is the author of Parallel Lines Printmakers Painters and Photographers in Nineteenth-Century France. Dominique de Font-R?aulx is a Curator at the Mus?e du Louvre. Dean MacCannell is a Professor of Environmental Design and Landscape Architecture at the University of California at Davis. (MP)