Bøker av Simon Kelly

The nineteenth century in France witnessed the emergence of the structures of the modern art market that remain until this day. This book examines the relationship between the avant-garde Barbizon landscape painter, ThéodoreRousseau (1812-1867), and this market, exploring the constellation of patrons, art dealers, and critics who surrounded the artist.Simon Kelly argues for the pioneering role of Rousseau, his patrons, and his public in the origins of the modern art market, and, in so doing, shifts attention away from the more traditional focus on the novel careers of the Impressionists and their supporters. Drawing on extensive archival research, the book offers fresh insight into the role of the modern artist as professional. It provides a new understanding of the complex iconographical and formalchoices within Rousseau's oeuvre, rediscovering the original radical charge that once surrounded the artist's work and led to extensive and peculiarly modern tensions with the market place.

Simon Kelly is curator of modern and contemporary art at the Saint Louis Art Museum. Among his many publications is Manet, The Man Who Invented Modern Art. Mary Schafer is associate painting conservator at the Nelson-Atkins Museum of Art, Kansas City, Missouri. Johanna Bernstein is a materials scientist at the Institute for Advance Materials, Devices, and Nanotechnology at Rutgers.

Simon Kelly's involvement in property development began when, as a computer-mad child in the 1980s, he started making spreadsheets for his father, the developer Paddy Kelly. By 2008, when the Irish property market crashed, Simon and Paddy owed their creditors nearly a billion euro. In 2009, they were the first big developers to admit they were bust - and they encouraged their fellow developers to face reality in the same way. In 2010, in the pages of a national newspaper, Simon Kelly apologized for his part in the long-term damage created by the property bubble.Until now, the story of Ireland's property boom and bust has been told only by people on the outside. The bankers and the developers have kept quiet. Now, Simon Kelly breaks the silence with this vivid and unsparing account of how it all worked and why it went sour. He brings us to the muddy fields, humble caf s and grand dining rooms where the deals were made; he explains how it was that debt always begat more debt; and he takes us through the hitherto opaque portals of Anglo Irish Bank, the Kellys' main lender. In an account packed with telling and indiscreet detail, Simon Kelly makes no excuses for ending up bust. He simply shows how it happened - to him, to other developers, to the banks, and to the country. In doing so, he courageously breaks ranks with the insiders who created this disaster, and who would prefer to blame 'international forces', bad luck, or one another. Breakfast with Anglo is a landmark in our national accounting of the present crisis, an essential read for anyone who wants to know how we got into this mess and how we might begin to think about getting out of it.

A novel look at the relationship between Impressionist painting and photography and the forging of a national identity in France between 1850 and 1880