The City of Glasgow possesses an internationally renowned collection of Impressionist and Post-Impressionist paintings. This magnificent book, the catalogue for a major exhibition, features sixty-four of the finest paintings in this collection, including important works by Rousseau, Corot, Monet, Renoir, Cézanne, Gauguin, Van Gogh, Picasso, Derain, Matisse, and Rouault. The lavishly illustrated book provides a short essay on each work as well as full catalogue details. There are also four introductory essays by prominent scholars that set the paintings in context. Irene Maver examines the social, political, and economic environment of Glasgow from its beginnings until the First World War; Frances Fowle charts the taste for French art in the west of Scotland during the late nineteenth and early twentieth century; Hugh Stevenson explores the early history of the city's collection and its assimilation of contemporary French paintings; and Belinda Thomson discusses how Glasgow's collection relates to the wider historical context of French painting of the period.

At the end of the nineteenth century Scotland was one of the most powerful industrial nations in the world. Huge wealth was generated in cities such as Glasgow, Aberdeen and Dundee and this period saw the emergence of a new breed of mercantile art collector, eager to invest in modern European art. This book is the first to explore the Scottish taste for Impressionism and Post-Impressionism c.1865-1930 and the impact of this art on two generations of Scottish artists. The term 'Impressionism' was then applied to artists as diverse as Corot, Whistler and the Glasgow Boys, as well as Monet, Degas and their contemporaries and the essays in this book - by leading scholars in the field - address a number of themes, including the influence of Dutch and French Realism on Scottish art, modern life imagery in the work of the Glasgow Boys, the taste for Whistler and his importance for Scottish art; William Burrell's collection of Impressionist pictures; and the impact of French art on the Scottish Colourists. Published to accompany the major exhibition Impressionism and Scotland (2008). AUTHOR: Dr Frances Fowle holds a joint post as Senior Curator of French Art at the National Gallery of Scotland and Lecturer in Art History at the University of Edinburgh. She has published widely on nineteenth century art, collecting and the art market and her publications include Monet and French Landscape (Edinburgh 2006) and (with Richard Thomson) Soil and Stone: Impressionism, Urbanism, Environment (London 2003). 160 colour & 40 b/w illustrations

Traditionally linked to the group of artists known as the Glasgow Boys, Joseph Crawhall was working in and around Glasgow at the turn of the century. These young artists reacted against the highly detailed and minutely finished anecdotal pictures then so fashionable. Instead, they believed that art should be about light, colour, design and composition - qualities which are the essence of Crawhall's work. He specialized in painting animals and birds and after 1893 he travelled frequently to Morocco and Spain. The last years of his life were spent in Yorkshire.

Eugene Boudin (1824-98) was one of the most important precursors of Impressionism. he captured ever-changing skies and water to create masterly atmospheres.;It was Boudin who encouraged the young Monet, in 1858 to abandon the studio and to paint outdoors. Boudin stressed that everything painted directly and on the spot has a strength, a vigour, a vivacity of touch that can never be attained in the studio... Three brushstrokes from nature are worth more than 2 days' studio work.;In the early 1860s, Boudin began to paint the elegant summer visitors on the beach at Trouville. It is these paintings that were to bring him financial success and for which he is famous today. This book explores Boudin's particular fascination with Truville and reveals for the first time in English, this important French artist through his work. It focuses on his small, intricate paintings of holidaymakers and working people at the seaside resort and port; the fishermen, the docks and boatyards; the washerwomen on the banks of the river la Touques; and the wonderful landscapes surrounding Trouville and Deauville.;The book's introduction by Vivian Hamilton, Assistant Keeper of Fine Art, Glasgow mUseums, is followed by several short essays considering various aspects of Boudin's oeuvre. John House of the Courtauld Institute, London, Laurent Manoeuvre, Direction des Musees de France and Liz Arthur, Glasgow Museums, together explore Boudin's modernity and the role of his drawings and watercolours, and take a detailed look at the French fashionable costume of the period as documented in his work.