Pioneering Modern Painting: Cézanne & Pissarro 1865–1885

Foreword Acknowledgments Pioneering Modern Painting - Still Modern? - Origins: Two Foreigners—The Formation of a New Language in Painting - Dialogues in Word and Paint - Reviewing the Past and Facing the End - Impressionism, Post-Impressionism: It's all Modern Painting Plates - "Setting the Louvre on Fire": Radical Technique and Ideology in Early Works - Reciprocal Gazes: Portraits and Self-Portraits - Portraits on Paper: Drawings - Louveciennes/Louveciennes: "To Each His Own Sensation" - Still Lifes of the 1870s: A Classic Genre "Improperly" Painted - Building with Paint: Houses and Village Streets in Auvers-sur-Oise and Pontoise - A Turning Road: Experiments with Composition and the Palette Knife in 1875 - Separate Paths Through a Shared Landscape: The Late 1870s and the Third Impressionist Exhibition - Contrasts in Pure Colors: L'Estaque and Pontoise - A Backward Glance: Cézanne Reconsiders Pissarro's Early Work - Salut and Farewell: A Final Interaction Notes Bibliography Comparative Chronology Index Photograph Credits Lenders to the Exhibition Trustees of The Museum of Modern Art