|Introduction: The Critical History of Impressionism: An Overview||p. 1|
|Background Studies: Economic Landscapes and Exhibition Strategies|
|Impressionism, Originality, and Laissez-Faire||p. 23|
|Dealing in Temperaments: Economic Transformation of the Artistic Field in France during the Second Half of the Nineteenth Century||p. 31|
|Impressionist Installations and Private Exhibitions||p. 49|
|Landscapes of Modernity|
|Framing the Landscape||p. 77|
|The Environs of Paris||p. 101|
|The Critical Climate|
|The Intransigent Artist or How the Impressionists Got Their Name||p. 149|
|Duranty on Degas: A Theory of Modern Painting||p. 163|
|Berthe Morisot and the Feminizing of Impressionism||p. 191|
|Impressionism, Politics, and Nationalism|
|Camille Pissarro in 1880: An Anarchistic Artist in Bourgeois Society||p. 205|
|Monet and the Challenges to Impressionism in the 1880s||p. 227|
|Recent Studies in Post-Impressionist Painting|
|Seurat's Grande Jatte: An Anti-Utopian Allegory||p. 253|
|At the Threshold of Symbolism: Van Gogh's Sower and Gauguin's: Vision after the Sermon||p. 271|
|Mark, Motif, Materiality: The Cezanne Effect in the Twentieth Century||p. 287|
|Select Bibliography||p. 323|
|List of Illustrations||p. 333|
|Table of Contents provided by Ingram. All Rights Reserved.|
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