Christopher Riopelle

Captivating artworks by renowned painters including Seurat and Signac are explored alongside pieces by lesser-known Neo-Impressionists, such as Anna Boch This catalogue accompanies the National Gallery’s first-ever exhibition devoted to the vibrant Neo-Impressionist movement. Organised thematically, the book interweaves the works of French, Belgian, and Dutch artists, painted from 1886—the year in which Seurat established the Pointillist movement—to the early twentieth century. The publication focuses on an exceptional loan of works from the Kröller-Müller Museum in Otterlo, The Netherlands, founded by the pioneering collector Helene Kröller-Müller. She was one of the first great women art patrons of the twentieth century, and her acquisitions and support of artists were key to shaping the canon of modern art. The book recounts the formation of Kröller-Müller’s extraordinary collection, before thematic texts explore the use of the dot in Neo-Impressionism; the relationship between the movement and anarchism; the interplay between Neo-Impressionism, modern life and entertainment; as well as the subjects of interiors and portraiture, which recur throughout these mesmerising works.Published by National Gallery Global/Distributed by Yale University PressThe National Gallery, London (13 September 2025–8 February 2026)

An accessible introduction to American painter Winslow Homer, examining his work through the lens of conflict A fresh exploration of the work of iconic American painter Winslow Homer (1836–1910) through the lens of conflict, a recurring theme in his prolific career. A persistent fascination with struggle permeates Homer’s art?—from emblematic images of the Civil War and Reconstruction to dazzling tropical works and monumental marines?—and reveals his lifelong engagement with the charged subjects of race, nature, and the environment. This publication illuminates Homer’s preoccupation with the complex social and political issues of his era—war, slavery, imperialism—as well as his broader concerns with the fragility of human life and dominance of nature. These powerful themes are present in his earliest Civil War and Reconstruction paintings, which explore the effect of the conflict on the landscape, soldiers, and the formerly enslaved. They continue through his later images of rural life, dramatic rescues, and hunting?—paintings that grapple with the often uneasy relationship between humans and the natural world. Toward the end of his life, human figures were reduced to tiny, irrelevant presences, while the ocean acquired a pivotal role. This richly illustrated volume will be published to accompany a retrospective at the National Gallery, organized in collaboration with the Metropolitan Museum of Art, New York. Published by National Gallery Global/Distributed by Yale University Press

A celebration of Renoir’s imagery of love in all its guises: from affection and friendship to flirtation, courtship and parenthood. More than any of his contemporaries, Renoir was committed to chronicling love and friendship. Whether on Parisian streetcorners or in sun-dappled woodlands, he understood that emotion could be as fleeting and blinding as his other great subject, sunlight itself. Focusing on the crucial period of the artist’s career from the mid-1860s to the mid-1880s, encompassing his early and Impressionist paintings, the catalogue traces the evolution of the imagery of love in Renoir’s art, from affection, flirtation and seduction to camaraderie and parenthood. Such themes are explored in tender and personal works, as well as beguiling multi-figure compositions of urban and suburban sociability. In the early 1880s Renoir moved away from an Impressionist style to more solid, sculptural compositions, but the theme of friendship and joy in nature remained. This publication addresses the broad topic of Renoir and love through a series of thematic essays, interspersed with in-depth entries on key artworks. It will accompany a major international touring exhibition.

An exploration of the fascinating parallels and differences between Picasso’s Woman with a Book and Ingres’s Madame Moitessier This publication examines, in detail, two extraordinary interrelated works: Picasso’s Woman with a Book (1932) and Ingres’s Madame Moitessier (1844–56). Each painting is explored in depth, illuminating the parallels and differences between the artists’ techniques and creative ambitions. The first essay tells the story of the twelve-year gestation of Ingres’s Madame Moitessier, focusing on the role of drawings in the elaboration of the composition, and of the sitter herself in determining how she was to be presented. The second essay traces the development of Picasso’s Woman with a Book, among the most celebrated likenesses of the artist’s young lover, Marie-Thérèse Walter. In contrast to Ingres’s work, it was painted in just a day or two. The final essay explores, through these two works, the artists’ shared interest in the relationship between nude and clothed bodies, revealing the depth of Picasso’s engagement with Madame Moitessier, which motivates and animates Woman with a Book. Published by National Gallery Company/Distributed by Yale University Press