st players as Renoir, Degas, Cézanne and Pissarro. Rewald's work is quite accessible and would offer a foundational background. Since Rewald's focus is largely on the artists themselves, his historical account of Impressionism is less taxing than some of the later texts to be introduced. Having mastered Rewald's approach to the era, students will be sufficiently confident to continue in developing a bit more sophisticated approach to this same material.
Frascina's Modernity and modernism: French painting in the nineteenth century (1993) will continue breaking the student in gentle to a diversity of approaches by offering a grouping of intriguing essays by diverse authors. In "Modern practices of art and modernity" Blake and Frascina illustrate how art functions as social practice by discussing art and politics, modernity as a fusion of the social and aesthetics and specifically analyzing Manet's Old Musician. In "Impressionism: Modernism and originality" Harrison offers a slightly more technical approach which emphasizes "significant form", "depth, flatness and self-criticism" and Monet and Pissarro's use of "painting and the human content." In a fairly non-painful approach, students will already be asked to fuse technical concerns with artists' choice of subjects. In "Gender and representation: Painting as a woman" Garb introduces a feminist perspective whi
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