This is a coloring book drawn from classic Impressionist art from Van Gogh to Mucha. The idea is that when you color famous art you remember the names and faces better than if you were just trying to memorize art history. This is meant to be an educational tool and a fun one. It covers a brief history of the paintings as well as the artists.

Sixty color-ready illustrations of timeless treasures by Impressionist and Post-Impressionist masters include works by Cassatt, Cézanne, Degas, Gauguin, van Gogh, Manet, Monet, Renoir, Sargent, Seurat, Toulouse-Lautrec, and others.

This is a coloring book drawn from classic Modern art from Munch to Mucha. This covers Post-Impressionists, Fauves and Expressionists, Cubism and Surrealism, as well as Art Nouveau. The idea is that when you color famous art you remember the names and faces better than if you were just trying to memorize art history. This is meant to be an educational tool and a fun one.

This is a coloring book drawn from classic Romantic era art from El Greco to Turner. This covers Mannerism, Baroque and Rococo, Romanticism and Neoclassicism. The idea is that when you color famous art you remember the names and faces better than if you were just trying to memorize art history. This is meant to be an educational tool and a fun one.

Colorists of all ages are invited to create their own versions of 60 great paintings. From masterpieces by Michelangelo and Raphael to striking creations by Paul Gauguin and Henri de Toulouse-Lautrec, this ready-to-color collection includes excellent renderings of Grant Wood's American Gothic, Winslow Homer's Snap the Whip, and Edward Hopper's Hotel Room, as well as compositions by Pierre-Auguste Renoir, Edgar Degas, Mary Cassatt, Paul Cézanne, Edward Burne-Jones, Claude Monet, John Singer Sargent, Vincent van Gogh, and 45 other great artists. Printed on one side only, the illustrations can be colored with a variety of media, including watercolors. All paintings are shown in original colors on the inside covers and notes provide information on each artist.

This study analyzes the impact of color-making technologies on the visual culture of nineteenth-century France, from the early commercialization of synthetic dyes to the Lumière brothers’ perfection of the autochrome color photography process. Focusing on Impressionist art, Laura Anne Kalba examines the importance of dyes produced in the second half of the nineteenth century to the vision of artists such as Edgar Degas, Pierre-Auguste Renoir, and Claude Monet. The proliferation of vibrant new colors in France during this time challenged popular understandings of realism, abstraction, and fantasy in the realms of fine art and popular culture. More than simply adding a touch of spectacle to everyday life, Kalba shows, these bright, varied colors came to define the development of a consumer culture increasingly based on the sensual appeal of color. Impressionism—emerging at a time when inexpensively produced color functioned as one of the principal means by and through which people understood modes of visual perception and signification—mirrored and mediated this change, shaping the ways in which people made sense of both modern life and modern art. Demonstrating the central importance of color history and technologies to the study of visuality, Color in the Age of Impressionism adds a dynamic new layer to our understanding of visual and material culture.

Captures the art of still life painting with reproductions of masterworks by such Impressionist artists as Van Gogh, Renoir, Cezanne, Gaughin, Monet, and Manet.

A collection of artwork for children by Vincent van Gogh and other French artists.

Water and light have seduced artists through the years and the quality of these elements at the New Jersey Shore continues to attract artists to this day. Between the late 1800s and 1940, an inspired group of painters were drawn to the New Jersey coastline, forming communities of artists. Jersey Shore Impressionists breaks new ground in the history of American art by recognizing the distinct influence of New Jersey and its Shore on impressionist era American painters. This book establishes ¿ for the first time ¿ a category of impressionist American painters who focused on, or were profoundly influenced by, the landscapes and seascapes of this Shore ¿ from Sandy Hook and Highlands to the Barnegat Bay region to Cape May. ¿Not since 1964, nearly 50 years ago, and only once before that in 1938 has there been published a book on painters in New Jersey,¿ says the book¿s author, Roy Pedersen. ¿Never until now has there appeared a survey of the regional impressionist painters of New Jersey.¿ Jersey Shore Impressionists is produced in conjunction with an exhibition at the Morven Museum & Garden in Princeton, NJ., which seeks to examine how the New Jersey shore was home to artist colonies whose output rivaled that of the better-known colonies of Old Lyme and Cos Cob, Connecticut, and Bucks County, Pennsylvania. In a Foreword, Richard J. Boyle, former director of the Pennsylvania Academy of the Fine Arts, describes the foundation of art colonies, and how they traveled from origins in mid-nineteenth century France to the plein-air attraction of the Jersey Shore's ¿special light.¿ The first art colony ¿ at Manasquan ¿ forms around 1880 as young artists fresh from European training in Germany, France and Italy begin to arrive, and the book includes work from these artists ¿ Will Hicok Low, Theodore Robinson, Albert Grantley Reinhart, Charles Freeman and Caroline Coventry Haynes. The next generation ¿ Edward Boulton, Ida Wells Stroud, Julius Golz ¿ trained in America, join and form new colonies to paint the unique light as well as the activities of the Shore. The passionate work created by these artists stands as an important, but unsung, chapter of American Impressionism and is celebrated in this book, establishing the important contribution to American art in general, and New Jersey¿s cultural heritage in particular.