Der dodekaphone Impressionist. Zu Luigi Dallapiccolas Piccola musica notturna by Jörg-Peter Mittmann

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Impressionist Art in Private Clubs: The Case Study of the Union League Club (1886-1902) by Claire Hendren

“…Surprisingly, private clubs were some of the first to endorse the movement, hosting impressionist exhibitions early on in the movement’s arrival to the United States. …”
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An ‘extraordinary change’ in the Climate: The Transformative Power of Impressionism in George Moore’s Art Criticism by Fabienne Gaspari

“…Oscar Wilde’s essay ‘The Decay of Lying’ introduces the idea of the transformative power of Impressionist painting, ‘this extraordinary change that has taken place in the climate of London’. …”
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Denying the Dichotomy: Word Images in The Waves by Bernadette McCarthy

“…Roger Fry’s introduction to Britain of the works of Post-impressionist painters was to impact significantly on the artistic development of writers including Virginia Woolf. …”
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UMWERTUNGEN IN LISZTS WASSER-MUSIK by Márta-Adrienne ELEKES

“… The magnificence of The fountains of Villa d'Este - which advanced the impressionist music - launched the idea to found out what were the antecedents and maybe the after life of the attitude toward this theme in the Liszt’s life works concerning the music written for piano. …”
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La mise en tourisme du patrimoine paysager de la Vallée des peintres entre Berry et Limousin : un levier de développement rural ? by Edwige Garnier, Frédéric Serre

“…From the 19th century onwards, the quality of the atmosphere and the light in this section of the valley near the region of the Berry attracted many artists, particularly impressionist artists. This profusion of artistic creativity focusing on the landscapes of the valley then fell into oblivion before the work of art historians exhumed this key period of local cultural history. …”
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Oscar Wilde and la critique impressionniste by Richard Hibbitt

“…It shows how Wilde’s views of criticism in the essays collected in Intentions are prefigured by Anatole France and Jules Lemaître, and how the dialogic discussion of art in ‘The Critic as Artist’ itself prefigures a real-life debate between France and the conservative critic Ferdinand Brunetière, who rejected the ‘subjective’ approach as ‘impressionist criticism’. The aim is to show how Wilde’s view of criticism combined aestheticism with a profound belief in the value of paradox and inconsistency as epistemological tools.…”
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Henri Bergson et les conservateurs espagnols (1907-1940)/I by Camille Lacau Saint-Guily

“…Bergsonism represents for them, by his «intuitionism», his anti-intellectualism, a decadent thinking, impressionist, semitic, antithetical to conservative noucentista thinking.…”
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Gauguin, Buffalo Bill, and the Cowboy Hat by Nancy Mowll Mathews

“…In this paper, I show how the French post-impressionist artist Paul Gauguin absorbed Buffalo Bill’s dual cowboy and Indian mythologies from his visits to the Wild West show, which ran alongside the 1889 Paris international exposition. …”
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The Roaring Streets: Dickensian London in the Pages of Virginia Woolf by Francesca Orestano

“…Dickens’s Little Dorrit and its closing sentence opens up my critical track by suggesting that Woolf’s reconstruction of the past must give to Victorian sounds a role that is neither ancillary nor merely impressionistic. This article focuses on Woolf’s portrayal of Victorian urban life in her fiction, especially in The Years (1937), where London sounds are everywhere present and deployed to create the polyphony—an exciting cacophony in modernist terms—of the great city. …”
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(Auto)biography and Authority: Dickens and Forster’s Reconstruction of a ‘National Treasure’ by Isabelle Hervouet-Farrar

“…This paper first shows how Forster dealt with the fragment, its blanks, omissions and almost impressionistic structure in short scenes before revealing in his biography that the draft could be found almost verbatim in David Copperfield. …”
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THE MOTHER GOOSE PIANO SUITE - AN AESTHETIC PARADIGM OF RAVEL’S MUSIC by Attila FODOR

“… The Mother Goose suite is not only one of Ravel’s most beloved works, but also a paradigmatic manifestation of his artistic thought. Composed in his impressionistic period, these musical tales reflect the composer’s dialog with several contemporary trends, like symbolism, neoclassicism or futurism, trends manifested as distinct periods of his output. …”
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