With this volume Prakash begins to fill a significant gap in art historical knowledge, specifically knowledge about the international dissemination of Impressionism as a painting style and the collection of French Impressionist painting outside of France.  Especially relevant is part 3, where one finds copious visual and biographical material about individual Canadian artists who emulated their French predecessors and adapted Impressionism to Canadian landscapes and subjects.  Those familiar with the histories of French and American Impressionism will find useful new information here about such less-known but accomplished artists as William Blair Bruce, Laura Muntz Lyall, and Helen Galloway McNicoll.  Unfortunately, the utility of the book beyond the coffee table is limited by the book's physical size and the broad scope of the coverage.  For example, William Gerdts's introductory essay provides enough informative history and analysis of French and American Impressionism to stand in for the lengthy discussion that follows in parts 1 and 2.  Thus, though the book is sumptuously produced and reveals a vital chapter in international Impressionism, a more tightly focused scholarly study of this topic is still warranted. Summing Up: Recommended. General readers.