Offers a major reevaluation of one of art history's popular and important art movements. This book demonstrates not only that the industrial and demographic revolutions of the nineteenth century had an impact on art, but also that impressionism was the first art historical movement to embrace such changes.

'With a wealth of fresh ideas and new interpretive perspectives on familiar pictorial examples, James Rubin provides a lucid, comprehensive account of the cultural significance of impressionist painting. He stresses the artists' interest in modern industry, technology, and productivity—a welcome corrective to our tendency to view this art almost exclusively as commentary on forms of bourgeois leisure. This is the type of book that will serve you well if it is the only one you read on impressionism, but also the one to read if you have already read all the others.'—Richard Shiff, The University of Texas at Austin

“James Rubin contends, contrary to the arguments of leading theorists of impressionist painting, that the painters' scenes of leisure and productivity should be read in tandem, for together they signify the impressionists' commitment to progressive modernism.” —Dianne Sachko Macleod, author of Art and the Victorian Middle Class: Money and the Making of Cultural Identity

“Although a wealth of new writing on impressionism continues to appear, images of modern industry, technology, and commerce in the contemporary urban and rural landscape—a large body of evocative and often exquisite impressionist paintings—have received little sustained attention. Rubin's Impressionism and the Modern Landscape successfully fills this gap, approaching the new industrial landscape as an image of modern productivity essential for the pursuit of bourgeois leisure. Rubin argues persuasively for the industrial landscapes as a cohesive and revealing body of work, presenting an especially impressive analysis of canvases by Monet.”—Mary Tompkins Lewis, editor of Critical Readings in Impressionism and Post-Impressionism