A spectacular survey of the world's most comprehensive collection of works by the Impressionist master Renoir The Barnes Foundation is home to the world's largest collection of paintings by Pierre-Auguste Renoir (1841-1919). Dr. Albert C. Barnes, a Philadelphia scientist who made his fortune in pharmaceuticals, established the Foundation in 1922 in Merion, Pennsylvania, as an educational institution devoted to the appreciation of the fine arts. A passionate supporter of European modernism, Barnes built a collection that was virtually unrivaled, with massive holdings by Paul Cézanne, Henri Matisse, and Pablo Picasso. But it was Renoir that Barnes admired above all other artists; he thought of him as a god and collected his work tenaciously, amassing 181 works by the painter between 1912 and 1942. All of these Renoirs are included in this lavishly illustrated book. Renoir in the Barnes Foundation tells the fascinating story of Barnes's obsession with the Impressionist master's late works, while offering illuminating new scholarship on the works themselves. Authors Martha Lucy and John House look closely at the key paintings in the collection, placing them in the wider contexts of contemporary artistic, aesthetic, and theoretical debates. The first volume to publish the entirety of Barnes's astonishing Renoir collection, Renoir in the Barnes Foundation is also an engaging study of the artist's critical--and often contested--role in the development of modern art. Published in association with the Barnes Foundation

A monumental volume devoted to one of the world’s largest and most spectacular collections of Cézannes. The Barnes Foundation’s holdings of works by the renowned Post-Impressionist Paul Cézanne (1839–1906)—sixty-one oils on canvas and eight works on paper—are among the most significant in the world. The Barnes Foundation was established in 1922 by scientist, entrepreneur, and educator Dr. Albert C. Barnes, a passionate supporter of European modernism. His virtually unrivaled collection, which can only be viewed at the Barnes Foundation, also includes exceptional paintings by Pierre-Auguste Renoir, Henri Matisse, Pablo Picasso, and many others. Beginning in 1912, Barnes acquired works by Cézanne from major Paris dealers such as Paul Durand-Ruel and soon ranked among the artist’s most prominent collectors. At the time, this expressed a pioneering taste that Barnes shared with only a small group of enthusiasts, even though Cézanne had been posthumously hailed as a father of modern art at the turn of the twentieth century. The foundation’s impressive holdings of Cézannes—never before published in a single study in their entirety—span every period of the artist’s career and include his largest rendition of The Card Players and one of the three versions of The Large Bathers, one of his signal testaments. This lavishly illustrated landmark volume is both a work on Cézanne and his time, and an impetus for further study of an artist whose oeuvre is at once luminous, austere, challenging, and deeply confounding.

The Barnes Foundation, established by scientist, entrepreneur, and educator Dr. Albert C. Barnes in 1922, is home to a legendary art collection. Barnes assembled one of the world’s largest and finest groups of post-impressionist and early modern paintings, with holdings by such luminaries as Renoir, Cézanne, Matisse, Picasso, Rousseau, Modigliani, Soutine, Manet, Monet, Seurat, Degas, Van Gogh, and Gauguin. The Foundation’s collection also holds significant examples of American art, including works by Demuth, Glackens, and the Prendergasts; African sculpture; Native American ceramics, jewelry, and textiles; Asian paintings, prints, and sculptures; medieval manuscripts and sculptures; Old Master paintings by El Greco, Rubens, Titian, and others; ancient Egyptian, Greek, and Roman art; and American and European decorative arts and metalwork. The presentation of the collection reflects Barnes’s educational and aesthetic approach: symmetrical “ensembles,” or wall compositions, combine works of different periods, mediums, cultures, and styles for the purpose of comparison and study. Texts by Judith F. Dolkart and Martha Lucy explore the Barnes Foundation’s collection, educational mission, ensembles, and individual works. Large color plates, little-seen archival photographs, and numerous gatefolds illustrate 150 of the greatest hits of the collection and twenty gallery ensembles.

This work accompanies an exhibition organised, in partnership, by Tate Modern, the Galeries Nationales du Grand Palais, and the Museum of Modern Art. It examines the crucial relationship between Matisse and Picasso.

The 21st century's first major academic reassessment of Impressionism, providing a new generation of scholars with a comprehensive view of critical conversations Presenting an expansive view of the study of Impressionism, this extraordinary volume breaks new thematic ground while also reconsidering established questions surrounding the definition, chronology, and membership of the Impressionist movement. In 34 original essays from established and emerging scholars, this collection considers a diverse range of developing topics and offers new critical approaches to the interpretation of Impressionist art. Focusing on the 1860s to 1890s, this Companion explores artists who are well-represented in Impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism's global predominance at the turn of the 20th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, and the movement's exhibition and reception history. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important new addition to scholarship in this field: Reevaluates the origins, chronology, and critical reception of French Impressionism Discusses Impressionism's account of modern identity in the contexts of race, nationality, gender, and sexuality Explores the global reach and influence of Impressionism in Europe, the Middle East, East Asia, North Africa, and the Americas Considers Impressionism's relationship to the emergence of film and photography in the 19th century Considers Impressionism's representation of the private sphere as compared to its depictions of public issues such as empire, finance, and environmental change Addresses the Impressionist market and clientele, period criticism, and exhibition displays from the late 19th century to the middle of the 20th century Features original essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and Argentina The Wiley Blackwell Companion to Impressionism is an invaluable text for students and academics studying Impressionism and late 19th century European art, Post-Impressionism, modern art, and modern French cultural history.

Beloved Impressionist painter Pierre-Auguste Renoir left a vibrant legacy that influenced the life and films of his son, the acclaimed director Jean Renoir. The Impressionist paintings of Pierre-Auguste Renoir are characterized by portraits and lively episodes from daily life. These joyful scenes influenced the life and work of his son, filmmaker Jean Renoir, who Orson Welles described as “the greatest of all directors.” This catalogue—and the traveling exhibition it accompanies—demonstrates how Pierre-Auguste Renoir’s artistic practice and creative universe influenced Jean’s art, and how Jean’s films shed new light on his father’s paintings. Focusing on leitmotifs in both artists’ works, this volume commingles paintings, drawings, films, costumes, photographs, and ceramics. Contributions from the Barnes Foundation, the Musée d’Orsay, and the Cinémathèque Française provide in-depth insight.

2016-2017 Dorothy Canfield Fisher Award Master List 2016 Best Children's Book of the Year—Historical Fiction List, Bank Street College 2016 Paterson Prize for Books for Young People Grades 4-6 2017-2018 Indiana Young Hoosier Book Award Master List Notable Social Studies Trade Books for Young People 2016—CBC/NCSS 2018-2019 Volunteer State Book Award Middle School List STARRED REVIEW! "Kidd writes with insight and restraint, creating a richly layered opus that hits every note to perfection...Beautifully written and earnestly delivered, the novel rolls to an inexorable, stunning conclusion readers won't soon forget."—Kirkus Reviews starred review STARRED REVIEW! "Along the way, Billie comes to grips with her own prejudices, inherited from her parents, in a way that is both lyrical and honest. In a year in which news events have made it clear that the civil rights movement is far from over, titles like Kidd's have special resonance. His focus on a lesser-known historical event provides a window into the past..."—Booklist starred review Thirteen-year-old Billie Sims doesn't think her hometown of Anniston, Alabama, should be segregated, but few of the town's residents share her opinion. As equality spreads across the country and the Civil Rights Movement gathers momentum, Billie can't help but feel stuck—and helpless—in a stubborn town too set in its ways to realize that the world is passing it by. So when Billie learns that the Freedom Riders, a group of peace activists riding interstate buses to protest segregation, will be traveling through Anniston on their way to Montgomery, she thinks that maybe change is finally coming and her quiet little town will shed itself of its antiquated views. But what starts as a series of angry grumbles soon turns to brutality as Anniston residents show just how deep their racism runs. The Freedom Riders will resume their ride to Montgomery, and Billie is now faced with a choice: stand idly by in silence or take a stand for what she believes in. Through her own decisions and actions and a few unlikely friendships, Billie is about to come to grips with the deep-seated prejudice of those she once thought she knew, and with her own inherent racism that she didn't even know she had.

A playful room-by-room "bird-watching" guide to the Albert C. Barnes galleries. Rumor has it that Dr. Barnes put a bird in every room of his famed collection. But is this really true, and if so, why? The Barnes Foundation collection offers an astounding array of art, focusing on post-impressionist and early modern masters: Renoir, Cézanne, Picasso, and Matisse. However, interspersed among these notable greats is a different kind of collection that incorporates folk art, pottery, furniture, and ironwork from cultures around the world. The instructional collection is built around a philosophy of individual interpretation, and following the birds from one room to another offers you an accessible starting point for uncovering the educational methods Dr. Barnes used to encourage students to look at art. This lighthearted tour weaves art, history, and lessons on the collection into a delightful search for birds hiding in the gallery.

William J. Glackens's (1870-1938) keen interest in the work of Pierre-Auguste Renoir (1841-1919) has long been recognized, but Glackens's specific debt to the art of this important French modernist has not been fully explored. In bringing together more than 30 works by each of these two important modernists for the first time, William Glackens and Pierre-Auguste Renoir: Affinities and Distinctions fills this void. It demonstrates Glackens's response to Renoir's Impressionist work (1860-mid-1880s), which was avidly purchased by a wide variety of American collectors, including Albert C. Barnes, who sent Glackens, his friend and colleague, to Paris in 1912 to purchase works for his then fledgling collection. Glackens was the only American artist who subsequently had nearly carte blanche access to Barnes' increasingly important collection of American and European modern art that included work by Paul Cézanne, Henri Matisse, and Pablo Picasso, among others, and numerous examples of Renoir's late-style (1890-1919). The exhibition defines Glackens's late style (c.1925-1938) for the first time, its affinities and distinctions from Renoir's work, and how it emerges from Glackens's familiarity with works specific exhibitions in New York, and the art he saw in Italy in 1926, and in Barnes' collection, while shedding new light on the history of taste in American collecting from the late-nineteenth to the mid-twentieth century.