--- product_id: 4145319 title: "The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism" price: "KD 12.53" currency: KWD in_stock: false reviews_count: 8 url: https://www.desertcart.com.kw/products/4145319-the-judgment-of-paris-the-revolutionary-decade-that-gave-world store_origin: KW region: Kuwait --- # The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism **Price:** KD 12.53 **Availability:** ❌ Out of Stock ## Quick Answers - **What is this?** The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism - **How much does it cost?** KD 12.53 with free shipping - **Is it available?** Currently out of stock - **Where can I buy it?** [www.desertcart.com.kw](https://www.desertcart.com.kw/products/4145319-the-judgment-of-paris-the-revolutionary-decade-that-gave-world) ## Best For - Customers looking for quality international products ## Why This Product - Free international shipping included - Worldwide delivery with tracking - 15-day hassle-free returns ## Description The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism [King, Ross] on desertcart.com. *FREE* shipping on qualifying offers. The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism Review: Informative but also as gripping as a thriller - Not about the Greek myth—take this book’s title literally. In the mid-1800s, Ernest Meissonier followed the rules of the French Academie des Beaux Arts and was revered as an artist, while Edouard Manet defied them—employing freer techniques and painting life as he saw it being lived—and was reviled. Such was the judgement of Paris. Manet’s paintings Olympia and Le Dejeuner Sur L’herbe caused scandals that attracted big crowds of oglers, to mock, get titillated, or simply to satisfy their curiosity. And his paintings didn’t sell. Meissonier got rich and Manet, who luckily came from a wealthy family, would have starved had he depended on his art. But we don’t often recognize great talent, or we fear disturbing the status quo. And time and other climes await their opportunity to express their judgement. Manet was not isolated in his unfortunate notoriety. He attracted young artists who embraced the message in his paintings and branded themselves impressionists. Manet unintentionally ushered in a revolution in art and left a cultural legacy: “by recasting artistic tradition in his own idiosyncratic vision in order to forge entirely new forms.” The impressionists didn’t impress French critics and their public. But they persisted. With help from gallery owner Durand-Ruel, they took their art to fresh eyes and fresh viewpoints across the ocean in London and New York. And the rest, you could say, is history. By the early 1900s, the fortunes of these artists began to reverse. Now Manet is famous and regarded as the father of modern painting. And his Olympia—mocked for a long time—is credited by an art professor at the Sorbonne as marking “a momentous date in the history of nineteenth-century painting and art generally.” His paintings have sold for millions of dollars. But how many of us in this new millennium know the works of Meissonier? While famous during his lifetime, the valuation of his work plunged after his death, and in at least one art history book he “had vanished from the history of French art like a murdered enemy.” Ross King’s book is doubtless an informative read. But it’s also as gripping as a thriller. He presents this period of art history in the sort of vivid narratives we’re advised to use in fiction. He draws us into his history of art as if we’re in the time and place when events happen. Review: A nuanced account of the birth and rise of impressionism. - The Paris Salon was the ultimate tribunal where French Art was judged during the 1800's. Thousands of artists submitted paintings, sculptures and other forms of art every year in hopes of being accepted.Being chosen or not could break or make an artists' career quite literally. Over the decades, the tribunal that selected the works had become a self-perpetuating institution with sclerotized ideas of what constituted Art- both in regards to content ( mostly mythological, classical or historical grand scenes with some sort of moral) and style (no trace of brush strokes and soft chiaroscuro transitions). In 1863, driven by the outrage that resulted from the rules imposed by the Count of Nieuekerke and which resulted in controversial refusals, Napoleon III ordered the opening of the Salon des Refuses: an exhibition that was to display many of the works refused by the official Salon. Napoleon III knew how to distract the population from his dictatorial government after all. This book follows the fortunes of two painters that were deeply involved in the Salon controversy: Meissionier, a very succesful painter of excruciating detail and accuracy; and Manet, a representative of a more direct and modern style. In a very accessible style that flows quite well, the book delves into the state of French Art of the nineteenth century. The panorama that emerges is a lot more nuanced than what we normally understand by the rivalry between impressionism and classicism, the mere confrontation between the "new" and the "old" which ends in 1874 with the Impressionists Exhibition. The author reveals that Manet, for example, used very classical models (Titian, Tintoretto) for his first paintings. Also, Manet valued the Salon and kept presenting his paintings to be juried year after year, even after becoming the hero of many an impressionist. Meissioner on the other hand struggled to create a modern vision as well despite the fact that his enormous success stemmed from his anachronistic and greatly detailed canvases of a somewhat dutch inspiration. The cast of characters that surrounds these two masters is the subject of much literature: Courbet, Baudelaire, Whistler, Monet, Zola, Fantin-laTour, Ingres, Degas, Bougereau and the "pompier" painters, an endless row of royals, politcians, gallerists and collectors. "The Judgment of Paris" does a phenomenal job of integrating all these pieces in a coherent narrative. I particularly enjoyed the glimpses into the lives of the painters, how young some of them were when they created some of their work, how poor or rich or inbetween some were, how they debated with their own place in time and art. I thought it was fascinating and far form the "finished" product and portrait of self-determination most biographers produce. For anybody interested in art and history, the book is well documented and seamless. Not just a collection of facts in search of a story but a good narration.If you are a painter, this is a must read and the only thing you will regret is the time you won't be painting waiting to put it down. ## Technical Specifications | Specification | Value | |---------------|-------| | Best Sellers Rank | #111,127 in Books ( See Top 100 in Books ) #32 in Art Movements (Books) #95 in French History (Books) #99 in Art History (Books) | | Customer Reviews | 4.5 4.5 out of 5 stars (434) | | Dimensions | 6.15 x 1.2 x 9.15 inches | | ISBN-10 | 0802715168 | | ISBN-13 | 978-0802715166 | | Item Weight | 1.15 pounds | | Language | English | | Print length | 464 pages | | Publication date | January 3, 2007 | | Publisher | Bloomsbury USA | ## Images ![The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism - Image 1](https://m.media-amazon.com/images/I/71RrjWHPk4L.jpg) ## Customer Reviews ### ⭐⭐⭐⭐⭐ Informative but also as gripping as a thriller *by E***Y on April 6, 2024* Not about the Greek myth—take this book’s title literally. In the mid-1800s, Ernest Meissonier followed the rules of the French Academie des Beaux Arts and was revered as an artist, while Edouard Manet defied them—employing freer techniques and painting life as he saw it being lived—and was reviled. Such was the judgement of Paris. Manet’s paintings Olympia and Le Dejeuner Sur L’herbe caused scandals that attracted big crowds of oglers, to mock, get titillated, or simply to satisfy their curiosity. And his paintings didn’t sell. Meissonier got rich and Manet, who luckily came from a wealthy family, would have starved had he depended on his art. But we don’t often recognize great talent, or we fear disturbing the status quo. And time and other climes await their opportunity to express their judgement. Manet was not isolated in his unfortunate notoriety. He attracted young artists who embraced the message in his paintings and branded themselves impressionists. Manet unintentionally ushered in a revolution in art and left a cultural legacy: “by recasting artistic tradition in his own idiosyncratic vision in order to forge entirely new forms.” The impressionists didn’t impress French critics and their public. But they persisted. With help from gallery owner Durand-Ruel, they took their art to fresh eyes and fresh viewpoints across the ocean in London and New York. And the rest, you could say, is history. By the early 1900s, the fortunes of these artists began to reverse. Now Manet is famous and regarded as the father of modern painting. And his Olympia—mocked for a long time—is credited by an art professor at the Sorbonne as marking “a momentous date in the history of nineteenth-century painting and art generally.” His paintings have sold for millions of dollars. But how many of us in this new millennium know the works of Meissonier? While famous during his lifetime, the valuation of his work plunged after his death, and in at least one art history book he “had vanished from the history of French art like a murdered enemy.” Ross King’s book is doubtless an informative read. But it’s also as gripping as a thriller. He presents this period of art history in the sort of vivid narratives we’re advised to use in fiction. He draws us into his history of art as if we’re in the time and place when events happen. ### ⭐⭐⭐⭐⭐ A nuanced account of the birth and rise of impressionism. *by J***N on September 8, 2011* The Paris Salon was the ultimate tribunal where French Art was judged during the 1800's. Thousands of artists submitted paintings, sculptures and other forms of art every year in hopes of being accepted.Being chosen or not could break or make an artists' career quite literally. Over the decades, the tribunal that selected the works had become a self-perpetuating institution with sclerotized ideas of what constituted Art- both in regards to content ( mostly mythological, classical or historical grand scenes with some sort of moral) and style (no trace of brush strokes and soft chiaroscuro transitions). In 1863, driven by the outrage that resulted from the rules imposed by the Count of Nieuekerke and which resulted in controversial refusals, Napoleon III ordered the opening of the Salon des Refuses: an exhibition that was to display many of the works refused by the official Salon. Napoleon III knew how to distract the population from his dictatorial government after all. This book follows the fortunes of two painters that were deeply involved in the Salon controversy: Meissionier, a very succesful painter of excruciating detail and accuracy; and Manet, a representative of a more direct and modern style. In a very accessible style that flows quite well, the book delves into the state of French Art of the nineteenth century. The panorama that emerges is a lot more nuanced than what we normally understand by the rivalry between impressionism and classicism, the mere confrontation between the "new" and the "old" which ends in 1874 with the Impressionists Exhibition. The author reveals that Manet, for example, used very classical models (Titian, Tintoretto) for his first paintings. Also, Manet valued the Salon and kept presenting his paintings to be juried year after year, even after becoming the hero of many an impressionist. Meissioner on the other hand struggled to create a modern vision as well despite the fact that his enormous success stemmed from his anachronistic and greatly detailed canvases of a somewhat dutch inspiration. The cast of characters that surrounds these two masters is the subject of much literature: Courbet, Baudelaire, Whistler, Monet, Zola, Fantin-laTour, Ingres, Degas, Bougereau and the "pompier" painters, an endless row of royals, politcians, gallerists and collectors. "The Judgment of Paris" does a phenomenal job of integrating all these pieces in a coherent narrative. I particularly enjoyed the glimpses into the lives of the painters, how young some of them were when they created some of their work, how poor or rich or inbetween some were, how they debated with their own place in time and art. I thought it was fascinating and far form the "finished" product and portrait of self-determination most biographers produce. For anybody interested in art and history, the book is well documented and seamless. Not just a collection of facts in search of a story but a good narration.If you are a painter, this is a must read and the only thing you will regret is the time you won't be painting waiting to put it down. ### ⭐⭐⭐⭐ What the heck is a "Due"????? *by G***R on February 16, 2025* I'm a fan of Ross King, and liked this book very much. But one detail bothered me, as a ex-copy editor. The Duc de Morny is referred to THROUGHOUT as "Due de Morny". (I'm referring to the Kindle edition). To the best of my knowledge there is no such rank as a "Due." 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