WorldCat Identities

Brodskai︠a︡, N. V. (Natalʹi︠a︡ Valentinovna)

Overview
Works: 193 works in 817 publications in 8 languages and 32,897 library holdings
Genres: Criticism, interpretation, etc  Biography  Pictorial works  Illustrated works  Personal correspondence  History  Sources  Catalogs 
Roles: Author, Editor, Creator, Other, win, Compiler
Classifications: ND1267, 759.4
Publication Timeline
.
Most widely held works by N. V Brodskai︠a︡
Impressionism by N. V Brodskai︠a︡( )

45 editions published between 2004 and 2018 in English and Undetermined and held by 2,861 WorldCat member libraries worldwide

"Analyzing the founding elements of the Impressionist movement, Brodskaia follows, through the works of a variety of artists, how the demand for individuality gave rise to modern painting."--Publisher's description
Post-impressionism by N. V Brodskai︠a︡( )

23 editions published between 2007 and 2018 in English and Undetermined and held by 2,252 WorldCat member libraries worldwide

This volume presents the late 1890s French art movement known as Post-Impressionism. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colors, thick application of paint, distinctive brush strokes, and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary color. The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward, leading to several informal sub-movements pointillism, cloisonnism, synthetism, and symbolism
Bonnard by N. V Brodskai︠a︡( )

11 editions published between 2005 and 2014 in 3 languages and held by 2,219 WorldCat member libraries worldwide

Pierre Bonnard was the leader of a group of Post-Impressionist painters who called themselves the Nabis, from the Hebrew word meaning?prophet?. Bonnard, Vuillard, Roussel and Denis, the most distinguished of the Nabis, revolutionised decorative painting during one of the richest periods in the history of French painting. Bonnard's works are striking for their strong colours and candidness
Symbolism by N. V Brodskai︠a︡( )

34 editions published between 2006 and 2014 in 3 languages and held by 1,983 WorldCat member libraries worldwide

Symbolism appeared in France and Europe between the 1880s and the beginning of the 20th century. The Symbolists, fascinated with ancient mythology, attempted to escape the reign of rational thought imposed by science. They wished to transcend the world of the visible and the rational in order to attain the world of pure thought, constantly flirting with the limits of the unconscious. The French Gustave Moreau, Odilon Redon, the Belgians Fernand Khnopff and Félicien Rops, the English Edward Burne-Jones and Dante Gabriel Rossetti, and the Dutch Jan Toorop are the most representative artists of the movement
Renoir by N. V Brodskai︠a︡( )

34 editions published between 2003 and 2014 in 8 languages and held by 1,746 WorldCat member libraries worldwide

Subjects, his models and even his family. It was in the 1870s that Renoir acquired the friends who would stay with him for the remainder of his days. One of them was the art-dealer Paul Durand-Ruel, who began to buy his paintings in 1872. In summer, Renoir continued to paint a great deal outdoors together with Monet. He would travel out to Argenteuil, where Monet rented a house for his family. Edouard Manet sometimes worked with them too. In 1877, at the Third Impressionist Exhibition, Renoir presented a panorama of over twenty paintings. They included landscapes created in Paris, on the Seine, outside the city and in Claude Monet's garden; studies of women's heads and bouquets of flowers; portraits of Sisley, the actress Jeanne Samary, the writer Alphonse Daudet and the politician Spuller; and also The Swing and The Ball at the Moulin de la Galette. Finally, in the 1880s Renoir hit a "winning streak". He was commissioned by rich financiers, the owner of the Grands Magasins du Louvre and Senator Goujon. His paintings were exhibited in London and Brussels, as well as at the Seventh International Exhibition held at Georges Petit's in Paris in 1886. In a letter to Durand-Ruel, then in New York, Renoir wrote: "The Petit exhibition has opened and is not doing badly, so they say. After all, it's so hard to judge about yourself. I think I have managed to take a step forward towards public respect. A small step, but even that is something."
Claude Monet by N. N Kalitina( )

10 editions published in 2011 in English and German and held by 1,677 WorldCat member libraries worldwide

For Monet, the act of creation was always a painful struggle. His obsession with capturing light effects in nature was much more intense than that of his contemporaries. In his words: "Skills come and go ... Art is always the same: a transposition of nature that requests as much will as sensitivity. I strive and struggle against the sun ... should as well paint with gold and precious stones."
Naïve art by N. V Brodskai︠a︡( )

33 editions published between 2000 and 2014 in English and Portuguese and held by 1,609 WorldCat member libraries worldwide

Discusses Rousseau, Miro, Pirosmani, Bambois and many more
Edgar Degas by N. V Brodskai︠a︡( )

7 editions published in 2012 in French and English and held by 1,557 WorldCat member libraries worldwide

"Hilaire-Germain-Edgar De Gas, born in Paris began to paint early in life. In 1853, he registered as a copyist in the Louvre and two years later he was admitted to the Ecole des Beaux-Arts where he studied under Louise Lamothe, an old pupil of Ingres. In 1856 he travelled to Italy to paint and study the works of the great Italian Renaisance painters. In 1872, Degas began an extended stay in New Orleans where he produced A Cotton Office in New Orleans. He formed the Société Anonyme des Artistes alongside other painters such as Monet and Sisley, with whom he would organise the Impressionist Exhibitions (1874-1886). Exhibitede there were ten paintings of nude women as well as his only sculpture displayed publicly during his lifetime, Little Ballet Dancer, which astonoshed Degas contemporaries for its realism."--Jacket
Monet : 1840-1926 by N. V Brodskai︠a︡( )

23 editions published between 2003 and 2014 in 6 languages and held by 1,412 WorldCat member libraries worldwide

For Monet, the act of creation was always a painful struggle. His obsession with capturing light effects in nature was much more intense than that of his contemporaries. In his words: "Skills come and go ... Art is always the same: a transposition of nature that requests as much will as sensitivity. I strive and struggle against the sun ... should as well paint with gold and precious stones."A beautiful display of Impressionist work, Mega Square Monet explores the extraordinary paintings of one of the masters of the 19th century. Monet's rapid brushstroke style in landscapes and scenes from everyday
Surrealism : genesis of a revolution by N. V Brodskai︠a︡( )

21 editions published in 2009 in French and English and held by 1,273 WorldCat member libraries worldwide

Surrealists appeared in the aftermath of World War I with a bang: revolution of thought, creativity, and the wish to break away from the past and all that was left in ruins. This refusal to integrate into the bourgeois society was also a leitmotiv of Dada artists, and André Breton asserted that Dada does not produce perspective. Surrealism emerged amidst such feeling. Surrealists and Dada artists often changed from one movement to another. They were united by their superior intellectualism and the common goal to break free from the norm. Describing the Surrealists with their aversive resistance to the system, the author brings a new approach which strives to be relative and truthful. Provocation and cultural revolution: aren't Surrealists after all just a direct product of creative individualism in this unsettled period?
Claude Monet by N. N Kalitina( )

3 editions published in 2010 in English and held by 1,176 WorldCat member libraries worldwide

Arte naif by N. V Brodskai︠a︡( )

6 editions published between 2007 and 2012 in Spanish and Undetermined and held by 1,113 WorldCat member libraries worldwide

El arte naif se hizo popular por primera vez a finales del siglo diecinueve. Hasta ese momento, esta forma de expresión creada por artistas sin formación y caracterizados por su espontaneidad y simplicidad contaba con poco reconocimiento entre los artistas profesionales y los críticos de arte. Influenciada por las artes primitivas, la pintura naif se caracteriza por la fluidez de sus líneas, por su vivacidad y sus colores alegres, así como por sus formas más bien sencillas, claramente definidas. El arte naif está representado por artistas como Henri Rousseau, Séraphine de Senlis, André Bauchant
The Fauves by N. V Brodskai︠a︡( )

28 editions published between 1995 and 2014 in 3 languages and held by 1,002 WorldCat member libraries worldwide

Examines the artistic evolution of the Fauves and Fauvism during the 20th century
Naive Kunst by N. V Brodskai︠a︡( )

13 editions published between 1999 and 2014 in German and English and held by 907 WorldCat member libraries worldwide

Die naive Kunst erlangte erstmals gegen Ende des 19. Jahrhunderts Popularität. Bis zu jener Zeit hatte sich diese von Autodidakten ohne formale Ausbildung praktizierte und durch Spontaneität und Einfachheit charakterisierte Ausdrucksform nur geringer Wertschätzung bei {u201E}professionellen? Künstlern und Kunstkritikern erfreut. Die von der primitiven Kunst beeinflusste naive Malerei ist durch die Präzision ihrer Linienführung, ihre Lebendigkeit und fröhlichen Farben sowie durch klare und einfache Formen charakterisiert. Die naive Kunst wird in Frankreich durch Künstler wie Henri Rousseau, Séraphine de Senlis, André Bauchant und Camille Bombois vertreten. Sie hat aber auch in anderen Ländern namhafte Vertreter, etwa Joan Miró, Guido Vedovato, Niko Pirosmani und Ivan Generalic gefunden
Cézanne by N. V Brodskai︠a︡( )

26 editions published between 2003 and 2014 in 6 languages and held by 847 WorldCat member libraries worldwide

Since his death 100 years ago, Cézanne has become the most famous painter of the nineteenth century. He was born in Aix-en-Provence in 1839 and the happiest period of his life was his early youth in Provence, in company with Emile Zolá, another Italian. Following Zolá's example, Cézanne went to Paris in his twenty-first year. During the Franco-Prussian war he deserted the military, dividing his time between open-air painting and the studio. He said to Vollard, an art dealer,?I'm only a painter. Parisian wit gives me a pain. Painting nudes on the banks of the Arc [a river near Aix] is all I could ask for.? Encouraged by Renoir, one of the first to appreciate him, he exhibited with the impressionists in 1874 and in 1877. He was received with derision, which deeply hurt him. Cézanne's ambition, in his own words, was?to make out of Impressionism something as solid and durable as the paintings of the museums.? His aim was to achieve the monumental in a modern language of glowing, vibrating tones. Cézanne wanted to retain the natural colour of an object and to harmonise it with the various influences of light and shade trying to destroy it; to work out a scale of tones expressing the mass and character of the form. Cézanne loved to paint fruit because it afforded him obedient models and he was a slow worker. He did not intend to simply copy an apple. He kept the dominant colour and the character of the fruit, but heightened the emotional appeal of the form by a scheme of rich and concordant tones. In his paintings of still-life he is a master. His fruit and vegetable compositions are truly dramatic; they have the weight, the nobility, the style of immortal forms. No other painter ever brought to a red apple a conviction so heated, sympathy so genuinely spiritual, or an observation so protracted. No other painter of equal ability ever reserved for still-life his strongest impulses. Cézanne restored to painting the pre-eminence of knowledge, the most essential quality to all creative effort. The death of his father in 1886 made him a rich man, but he made no change in his abstemious mode of living. Soon afterwards, Cézanne retired permanently to his estate in Provence. He was probably the loneliest of painters of his day. At times a curious melancholy attacked him, a black hopelessness. He grew more savage and exacting, destroying canvases, throwing them out of his studio into the trees, abandoning them in the fields, and giving them to his son to cut into puzzles, or to the people of Aix. At the beginning of the century, when Vollard arrived in Provence with intentions of buying on speculation all the Cézannes he could get hold of, the peasantry, hearing that a fool from Paris was actually handing out money for old linen, produced from barns a considerable number of still-lifes and landscapes. The old master of Aix was overcome with joy, but recognition came too late. In 1906 he died from a fever contracted while painting in a downpour of rain
Gustave Caillebotte (1848-1894) by N. V Brodskai︠a︡( )

2 editions published in 2018 in French and English and held by 741 WorldCat member libraries worldwide

Le surréalisme genèse d'une révolution by N. V Brodskai︠a︡( )

5 editions published in 2012 in English and French and held by 641 WorldCat member libraries worldwide

Surrealists appeared in the aftermath of World War I with a bang: revolution of thought, creativity, and the wish to break away from the past and all that was left in ruins. This refusal to integrate into the bourgeois society was also a leitmotiv of Dada artists, and André Breton asserted that Dada does not produce perspective. Surrealism emerged amidst such feeling. Surrealists and Dada artists often changed from one movement to another. They were united by their superior intellectualism and the common goal to break free from the norm. Describing the Surrealists with their aversive resistance
Félix Vallotton by N. V Brodskai︠a︡( )

16 editions published in 2013 in 3 languages and held by 608 WorldCat member libraries worldwide

Félix Vallotton, né à Lausanne le 28 décembre 1865 et mort à Paris le 29 décembre 1925, est un artiste peintre, sculpteur et graveur sur bois Suisse, naturalisé Français en 1900. En une dizaine d'années, Vallotton parvient à se faire un nom auprès de l'avant-garde parisienne. Sa renommée devient internationale grâce à ses gravures sur bois et à ses illustrations en noir et blanc qui font sensation. Il expose régulièrement à Paris, et dans le reste de l'Europe. Il épouse en secondes noces Gabrielle Rodrigues-Henrique, filles et sœur des Bernheim-Jeune, marchands d'art parisiens réputés. Il par
Manet by N. V Brodskai︠a︡( )

12 editions published between 2005 and 2014 in 4 languages and held by 598 WorldCat member libraries worldwide

Manet was one of the most ingenious artists of the 19th century. His oeuvre is marked by the controversy that surrounded his early paintings as well as by the influence of his style, which helped drive the transition from Realism to Impressionism. The convenient format this of this book makes it the perfect gift for all art enthusiasts and provides an ideal collection of the French master's work
Claude Monet by N. V Brodskai︠a︡( )

8 editions published in 2011 in 4 languages and held by 542 WorldCat member libraries worldwide

His life; Notes; His work; Monet 1840-1926 : Chronology; Exhibitions; Monet - Bibliography; Index
 
moreShow More Titles
fewerShow Fewer Titles
Audience Level
0
Audience Level
1
  Kids General Special  
Audience level: 0.06 (from 0.00 for Bonnard / ... to 0.18 for Gustave Ca ...)

Post-impressionism
Covers
Post-impressionismSymbolismRenoirClaude MonetNaïve artMonet : 1840-1926Surrealism : genesis of a revolutionClaude Monet
Alternative Names
Brodska, Natalia.

Brodskaia, N. V.

Bródskaia, Natalia.

Brodskaïa, Natalia 1937-

Brodskaia, Natalia Valentinova

Brodskaia, Natalia Valentinova 1937-

Brodskai︠a︡, Natalʹi︠a︡ Valentinovna

Brodskaia, Natalia Valentinovna 1937-

Brodskaïa, Nathalia.

Brodskaïa, Nathalia 1937-

Brodskaja, N. V.

Brodskaja, Natalia 1937-

Brodskaja, Natalia Valentinova

Brodskaja Natalija

Brodskaja, Natalʹja 1937-

Brodskaja, Natalja Valentinovna

Brodskaja, Natalʹja Valentinovna 1937-

Brodskaja, Natalja Valentinovna [t].

Brodskaya, N.

Brodskaya Natalia

Brodskaya, Natalia 1937-

Brodskaya, Nathalia 1937-

Brodzka, Natalia.

Broskaïa, Nathalia.

Natalʹâ Valentinovna Brodskaâ conservateur au Musée de l'Ermitage à Saint-Pétersbourg depuis 1961

Natalʹâ Valentinovna Brodskaâ crítica d'arte rusa

Natalʹâ Valentinovna Brodskaâ Russisch kunstcritica

Бродская Наталья Валентиновна

Languages