This beautiful catalog from an exhibit at the Metropolitan Museum of Art in 1992 is an excellent anthology of Seurat's work, juxtaposing finished works with sketches, and includes a large selection of sketches as a student. The size allows the works to be displayed in all their glory. If you like Seurat, buy this!

I felt that this book is the best overall catalog of the work of Stuart Davis. It includes an enormous amount of color and black and white pictures of his paintings and of himself. It also includes a good synopsis of his life and extrordinary career. If you need a book on Stuart Davis than this is the best.

Many exhibition catalogues, particularly for Impressionist exhibitions, just present a host of pretty pictures between attractive covers, and not much more. "Origins of Impressionism" is a wonderful exception to this rule. The essays by Henri Loyrette and Gary Tinterow sucessfully reconstruct the hidebound Paris art world of the mid-nineteenth century to help the reader understand just why "Impressionism" came to be. The greatest virtue of the book (and the exhibition which it accompanied) is that the familiar figures - Monet, Manet, Renoir, Bazille, Corot, and Courbet - are treated not as isolated visionaries, but as intelligent men grappling with a profound transformation in their world. The impressionist movement - so influential and so expensive - is portrayed as an advance in human consciousness brought about by a group of dedicated individuals whose goals did not necessarily include making vast sums of money. These people had an art that t! hey believed in - is this why we still flock to see the pictures they made? An essential addition to any art library.

Always my favorite painter, I was lucky enough to see an exposition of his work at the National Art Gallery in London in 1999 and his more famous works on constant display the Louvre in 2000. While his historical and allegorical paintings are impressive, his talent with portraiture is unmatched. I am particularly struck by the detailed imagery. It feels like you are looking at a photography, the realism is so intense. Yet as the book demonstrates, numerous studies were done before each painting, trying to determine how best to capture the subject.

The book is a large format, with numerous full color, full plate images. Personally, I did not find the accompanying essays particularly interesting but thought that the notes on each specific work more compelling. The choices of artwork included in the book is primarily restricted to portraits, but not only paintings but paper drawings and minatures also.

Portraits By Ingres: Image Of An Epoch showcases odalisques and dramatic historical scenes painted by Jean Auguste Dominique Ingres (1780-1867) and are justifiably considered to rank among the master-pieces of nineteenth-century French art. The superbly reproduced paintings are enhanced with informative contributions on Ingres' life and work by Philip Conisbee, Rebecca A. Rabinow, Christopher Riopelle, Robert Rosenblum, Andrew Carrington Shelton, Gary Tinterow, and Georges Vigne, as well as drawing entries by Hans Naef. With its photographs of the artist and his sitters (and caricatures from contemporary journals) Portraits By Ingres is a seminal, scholarly, beautifully presented, landmark publication that will secure Ingres in his proper place for students of art history.

I have been waiting for a first-rate work on Ingres portraits for many years and now it is finally here! This book is a MUST HAVE for anyone who admires Ingres. The book was published in conjunction with the wonderful exhibition of Ingres portraits which played in London, New York, and Washington DC. I attended the exhibition at the Metropolitan Museum in New York and this book does justice to what I saw in person. Since not every work of art was seen at each venue, the book provides reproductions of several works which were not made available for viewing in the United States (such as the great Rothchild portrait). I have the books on Ingres by both Robert Rosenblum and Georges Vigne. Although both of those books were good, this new book surpasses them due to the quality of the writing and the superb reproductions. There are enlightening essays by both the exhibition curators together with outside experts such as Rosenblum and Vigne. The reproductions are plentiful and very good quality. In addition to the oil paintings, there are dozens of high quality reproductions of the superb portrait drawings. Each portrait is accompanied by an essay together with the provenance and exhibition history of the work. The book also deals with the thorny issue of collaborators. Although the book is fairly expensive, it is well worth the money. Perhaps one day we will have similar books published on other great portrait painters such as Holbein, Moroni, and Bronzino. Anyone in the museum or publishing world listening?