Carol Armstrong is an American professor, art historian, art critic, and photographer. Armstrong teaches and writes about 19th-century French art, the history of photography, the history and practice of art criticism, feminist theory and women and gender representation in visual culture. [1]
Armstrong received her Ph.D. from Princeton University's Department of Art and Archaeology. [2]
Armstrong taught at the University of California, Berkeley, where she was a Townsend Fellow, and received tenure in 1990. [2] [3] She then taught at the Graduate Center of the City University of New York. [2] She joined the tenured faculty at Princeton University and became the Doris Stevens Professor of Women's Studies in 1999. [4] Later, she was the director of the program in the study of women and gender from 2004 to 2007. [2]
Armstrong then joined the faculty at Yale University in 2007, where she is a professor of the History of Art, and the director of undergraduate studies in art history. [5] At Yale, she is also affiliated with the women's, gender, and sexuality studies, the film and media studies program, and the French department.
Armstrong has curated exhibitions at the J. Paul Getty Museum, Princeton University Art Museum, The Drawing Center in New York, the Yale Center for British Art and the Yale University School of Art's Edgewood Gallery. [2]
In 1994, she was awarded a Guggenheim Fellowship. [6] She was awarded the Charles Rufus Morey Book Award in 1993 from the College Arts Association for her book Odd Man Out: Readings of the Work and Reputation of Edgar Degas, published by the University of Chicago Press. [7]
Berthe Marie Pauline Morisot was a French painter and a member of the circle of painters in Paris who became known as the Impressionists.
Édouard Manet was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism.
Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities, ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.
Paul Cézanne was a French Post-Impressionist painter whose work introduced new modes of representation and influenced avant-garde artistic movements of the early 20th century, whose work formed the bridge between late 19th-century Impressionism and early 20th century Cubism.
Edgar Degas was a French Impressionist artist famous for his pastel drawings and oil paintings.
Henri Fantin-Latour was a French painter and lithographer best known for his flower paintings and group portraits of Parisian artists and writers.
Helen Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades, she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as color field. Born in Manhattan, she was influenced by Greenberg, Hans Hofmann, and Jackson Pollock's paintings. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York City, and been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.
Olympia is a 1863 oil painting by Édouard Manet, depicting a nude white woman ("Olympia") lying on a bed being attended to by a black maid. The French government acquired the painting in 1890 after a public subscription organized by Claude Monet. The painting is now in the Musée d'Orsay, Paris.
John Elderfield was Chief Curator of Painting and Sculpture at the Museum of Modern Art, New York, from 2003 to 2008. He served as the Allen R. Adler, Class of 1967, Distinguished Curator at the Princeton University Art Museum and Lecturer in the Princeton University Department of Art and Archaeology from 2012 to 2019.
The Foundation E. G. Bührle Collection is an art museum in Zürich, Switzerland. It was established by the Bührle family to make Emil Georg Bührle's collection of European sculptures and paintings available to the public. The museum is in a villa adjoining Bührle's former home. In 2021 many works were exhibited on 20-year loan in almost a whole floor of the new extension of the Kunsthaus Zürich museum. There was controversy due to suspicions that many works were looted from Jews by Nazi Germany. The foundation was managed for decades by Bührle's son Dieter, who was sentenced to a conditional prison term of 8 months in 1970 for supplying weapons to the racist apartheid regime in South Africa.
The Princeton University Art Museum (PUAM) is the Princeton University gallery of art, located in Princeton, New Jersey. With a collecting history that began in 1755, the museum was formally established in 1882, and now houses over 113,000 works of art ranging from antiquity to the contemporary period. The Princeton University Art Museum dedicates itself to supporting and enhancing the university's goals of teaching, research, and service in fields of art and culture, as well as to serving regional communities and visitors from around the world. Its collections concentrate on the Mediterranean region, Western Europe, Asia, the United States, and Latin America.
Sarah Choate Sears (1858–1935) was an American art collector, art patron, cultural entrepreneur, artist and photographer.
Plum Brandy, also known as The Plum, is an oil painting by Édouard Manet. It is undated but thought to have been painted about 1877. The painting measures 73.6 centimetres (29.0 in) by 50.2 centimetres (19.8 in). It depicts a woman seated alone at a table in a cafe, in a lethargic pose similar to that of the woman in Degas' L'Absinthe. The woman may be a prostitute, but unlike the subject of Degas' work she appears more dreamy than depressed. She holds an unlit cigarette and her plum soaked in brandy appears untouched.
Theodore Franklin Reff is Professor Emeritus of European Painting and Sculpture, 1840–1940 at Columbia University.
Henry Pearlman (1895–1974) was a Brooklyn-born, self-made businessman, and collector of impressionist and post-impressionist art. Over three postwar decades, he assembled a "deeply personal" and much revered collection centered on thirty-three works by Paul Cézanne and more than forty by Vincent van Gogh, Amedeo Modigliani, Chaïm Soutine, Paul Gauguin, Édouard Manet, Henri de Toulouse-Lautrec and a dozen other European modernists.
Mary Weatherford is a Los Angeles–based painter. She is known for her large paintings incorporating neon lighting tubes. Her work is featured in museums and galleries including the Hirshhorn Museum and Sculpture Garden, Brooklyn Museum, Museum of Modern Art, and the High Museum of Art. Weatherford's solo exhibitions include Mary Weatherford: From the Mountain to the Sea at Claremont McKenna College, I've Seen Gray Whales Go By at Gagosian West, and Like The Land Loves the Sea at David Kordansky Gallery, Los Angeles. Her work has been part of group exhibitions at the Museum of Modern Art and the Rose Art Museum at Brandeis University.
Odd Man Out: Readings of the Work and Reputation of Edgar Degas is a 1991 book by Carol Armstrong. It is about the paradoxes surrounding Edgar Degas and his works.
Prostitution in Impressionist painting was a common subject in the art of the period. Prostitution was a very widespread phenomenon in nineteenth-century Paris and although an accepted practice among the nineteenth century bourgeoisie, it was nevertheless a topic that remained largely taboo in polite society. As a result, Impressionist works depicting the prostitute often became the subject of scandal, and particularly venomous criticism. Some works showed her with considerable sympathy, while others attempted to impart an agency to her; likewise some work showed high-class courtesans, and others prostitutes awaiting clients on the streets. In addition to the sexual revulsion/attraction the figure of the prostitute stirred, she functioned as a sign of modernity, a clear sign of the entanglement of sex, class, power and money.
Street Singer is a circa 1862 oil-on-canvas painting by Édouard Manet depicting a female street musician standing near the entrance to a cabaret.
Max Silberberg was a major cultural figure in Breslau, a German Jewish entrepreneur, art collector and patron who was robbed and murdered by the Nazis. His art collection, among the finest of its era, has been the object of numerous restitution claims.