Background
Galassi, Peter was born on April 18, 1951 in Washington, District of Columbia, United States. Son of Gerard Goodwin and Dorothea Johnston (White) Galassi.
(Arriving in Rome in 1825, Corot spent three years paintin...)
Arriving in Rome in 1825, Corot spent three years painting and drawing the landscape nearby. In their freshness and candour, his open-air studies seem to point forward, toward Impressionism. Galassi shows that they also point to the past. Half a century before Corot visited Italy, the community of foreign artists at Rome had spawned a school of outdoor painting. Under the banner of Neoclassicism, an international roster of artists - British, French, German, Scandinavian - elaborated the experiment into a rich tradition, absorbing the lessons of Poussin and Claude and appropriating the motifs of the viewmakers. Corot's work marks the culmination of the tradition, the last, flowering of the classical landscape ideal. Drawing on the efforts of scholars, dealers, and collectors, Galassi establishes the coherence and significance of early outdoor painting in Italy. Building on this foundation, he explores in depth Corot's magnificent landscapes.
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(Dust jacket notes: "The invention of photography was one ...)
Dust jacket notes: "The invention of photography was one of the most important cultural and artistic events of the nineteenth century. Yet its origins have been studied largely from the scientific point of view. This carefully reasoned essay challenges the conventional notion that the invention of photography was fundamentally a technical achievement, without artistic roots. Peter Galassi, Associate Curator in the Department of Photography at The Museum of Modern Art, argues that the medium 'was not a bastard left by science on the doorstep of art, but a legitimate child of the Western pictorial tradition.' Ever since the Renaissance invention of linear perspective, artists had considered vision the sole basis of representation. But only gradually did they formulate pictorial strategies capable of suggesting the immediacy and relativity of everyday visual experience; only after centuries of experiment did they come to value pictures that seem to be caught by the eye rather than composed by the mind. Galassi argues that photography was born of this transformation in artistic outlook. To support this argument the author has assembled forty-four innovative European paintings and drawings made in the half-century before the invention of photography was announced in 1839. These works, landscapes by John Constable, J. B. C. Corot, and their contemporaries, show an impressive independence from earlier standards of composition, an original sense of pictorial order based on a heretical concern for the most humble scenes. In their fundamentally modern pictorial syntax of synoptic perceptions and dicontinuous, unexpected forms, Galassi identifies the critical shift in artistic norms that led to the invention of photography." 152 pages, 82 plates (9 in color), 38 reference illustrations.
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Galassi, Peter was born on April 18, 1951 in Washington, District of Columbia, United States. Son of Gerard Goodwin and Dorothea Johnston (White) Galassi.
Bachelor, Harvard University, 1972. Doctor of Philosophy, Columbia University, 1986.
Production manager, The Richmond (Virginia) Mercury, 1972-1973; curatorial intern, Museum Modern Art, New York City, 1974-1975; associate curator, Museum Modern Art, New York City, 1981-1986; curator, Museum Modern Art, New York City, 1986-1991; chief curator, Museum Modern Art, New York City, since 1991.
(Dust jacket notes: "The invention of photography was one ...)
(A survey of Henri Cartier-Bresson's work made between 193...)
(Arriving in Rome in 1825, Corot spent three years paintin...)
(IN VERY GOOD CONDITION. COVER IN VERY GOOD CONDITION. INS...)
(Book by Galassi, Peter)
(Exhibition catalog. Peter Galassi argues in this book tha...)
Married Genevieve Christy, October 2, 1982. 1 child, Kate Christy.