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Impressionism was a 19th-century art movement that began as a loose association of Paris-based artists whose independent exhibitions brought them to prominence in the 1870s and 1880s. The name of the movement is derived from the title of a Claude Monet work, Impression, Sunrise (Impression, soleil levant), which provoked the critic Louis Leroy to coin the term in a satiric review published in Le Charivari.
Impressionism also describes art created in this style, but outside of the late 19th century time period.
Radicals in their time, early Impressionists broke the rules of academic painting. They began by giving colours, freely brushed, primacy over line, drawing inspiration from the work of painters such as Eugene Delacroix. They also took the act of painting out of the studio and into the modern world. Previously, still lifes and portraits as well as landscapes had usually been painted indoors. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air. Painting realistic scenes of modern life, they emphasized vivid overall effects rather than details. They used short, “broken” brush strokes of pure and unmixed colour, not smoothly blended, as was customary, in order to achieve the effect of intense colour vibration.
Although the rise of Impressionism in France happened at a time when a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting, the Impressionists developed new techniques that were specific to the movement. encompassing what its adherents argued was a different way of seeing, it was an art of immediacy and movement, of candid poses and compositions, of the play of light expressed in a bright and varied use of colour.
The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if it did not receive the approval of the art critics and establishment.
By re-creating the sensation in the eye that views the subject, rather than recreating the subject, and by creating a welter of techniques and forms, Impressionism became a precursor seminal to various movements in painting which would follow, including Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.
In an atmosphere of change as emperor Napoleon III rebuilt Paris and waged war, the Academie des Beaux-Arts dominated the French art scene in the middle of the 19th century. The Academie was the upholder of traditional standards for French painting, both in content and style. Historical subjects, religious themes, and portraits were valued (landscape and still life were not), and the Academie preferred carefully finished images which mirrored reality when examined closely. Colour was somber and conservative, and the traces of brush strokes were suppressed, concealing the artist’s personality, emotions, and working techniques.
The Academie held an annual, juried art show, the Salon de Paris, and artists whose work displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries reflected the values of the Academie, represented by the highly polished works of such artists as Jean-Leon Gerome and Alexandre Cabanel. Some younger artists painted in a lighter and brighter manner than painters of the preceding generation, extending further the realism of Gustave Courbet and the Barbizon school. They were more interested in painting landscape and contemporary life than in recreating scenes from history. each year, they submitted their art to the Salon, only to see the juries reject their best efforts in favour of trivial works by artists working in the approved style. A core group of young realists, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frederic Bazille, who had studied under Charles Gleyre, became friends and often painted together. They soon were joined by Camille Pissarro, Paul Cezanne, and Armand Guillaumin.
In 1863, the jury rejected The Luncheon on the Grass (Le dejeuner sur l’herbe) by Edouard Manet primarily because it depicted a nude woman with two clothed men at a picnic. While nudes were routinely accepted by the Salon when featured in historical and allegorical paintings, the jury condemned Manet for placing a realistic nude in a contemporary setting. The jury’s sharply worded rejection of Manet’s painting, as well as the unusually large number of rejected works that year, set off a firestorm among French artists. Manet was admired by Monet and his friends, and led the discussions at Cafe Guerbois where the group of artists frequently met.
Artists’ petitions requesting a new Salon des Refuses in 1867, and again in 1872, were denied. In the latter part of 1873, Monet, Renoir, Pissarro, and Sisley organized the Societe Anonyme Cooperative des Artistes Peintres, Sculpteurs, Graveurs (“Cooperative and Anonymous Association of Painters, Sculptors, and engravers”) for the purpose of exhibiting their artworks independently. Members of the association, which soon included Cezanne, Berthe Morisot, and Edgar Degas, were expected to forswear participation in the Salon. The organizers invited a number of other progressive artists to join them in their inaugural exhibition, including the slightly older eugene Boudin, whose example had first persuaded Monet to take up plein air painting years before. Another painter who greatly influenced Monet and his friends, Johan Jongkind, declined to participate, as did Manet. In total, thirty artists participated in their first exhibition, held in April 1874 at the studio of the photographer Nadar. Claude Monet, The Cliff at etretat after the Storm, 1885, Clark Art Institute, Williamstown, Massachusetts
The critical response was mixed, with Monet and Cezanne bearing the harshest attacks. Critic and humorist Louis Leroy wrote a scathing review in the Le Charivari newspaper in which, making wordplay with the title of Claude Monet’s Impression, Sunrise (Impression, soleil levant), he gave the artists the name by which they would become known. Derisively titling his article The exhibition of the Impressionists, Leroy declared that Monet’s painting was at most, a sketch, and could hardly be termed a finished work.
Monet, Sisley, Morisot, and Pissarro may be considered the “purest” Impressionists, in their consistent pursuit of an art of spontaneity, sunlight, and colour. Degas rejected much of this, as he believed in the primacy of drawing over colour and belittled the practice of painting outdoors. Renoir turned against Impressionism for a time in the 1880s, and never entirely regained his commitment to its ideas. Edouard Manet, despite his role as a leader to the group, never abandoned his liberal use of black as a colour, and never participated in the Impressionist exhibitions. He continued to submit his works to the Salon, where his Spanish Singer had won a 2nd class medal in 1861, and he urged the others to do likewise, arguing that “the Salon is the real field of battle” where a reputation could be made.
Among the artists of the core group (minus Bazille, who had died in the Franco-Prussian War in 1870), defections occurred as Cezanne, followed later by Renoir, Sisley, and Monet, abstained from the group exhibitions in order to submit their works to the Salon. Disagreements arose from issues such as uillaumin’s membership in the group, championed by Pissarro and Cezanne against opposition from Monet and Degas, who thought him unworthy. Degas invited Mary Cassatt to display her work in the 1879 exhibition, but he also caused dissention by insisting on the inclusion of Jean-Francois Raffaelli, Ludovic Lepic, and other realists who did not represent Impressionist practices, leading Monet in 1880 to accuse the Impressionists of “opening doors to first-come daubers”. The group divided over the invitation of Signac and Seurat to exhibit with them in 1886. Pissarro was the only artist to show at all eight Impressionist exhibitions.
The individual artists saw few financial rewards from the Impressionist exhibitions, but their art gradually won a degree of public acceptance. Their dealer, Durand-Ruel, played a major role in this as he kept their work before the public and arranged shows for them in London and New York. Although Sisley would die in poverty in 1899, Renoir had a great Salon success in 1879. Financial security came to Monet in the early 1880s and to Pissarro by the early 1890s. By this time the methods of Impressionist painting, in a diluted form, had become commonplace in Salon art.
Painters throughout history had occasionally used these methods, but Impressionists were the first to use all of them together, and with such boldness. earlier artists whose works display these techniques include Frans Hals, Diego Velazquez, Peter Paul Rubens, John Constable, and J. M. W. Turner.
French painters who prepared the way for Impressionism include the Romantic colourist Eugene Delacroix, the leader of the realists Gustave Courbet, and painters of the Barbizon school such as Theodore Rousseau. The Impressionists learned much from the work of Jean-Baptiste-Camille Corot and Eugene Boudin, who painted from nature in a style that was close to Impressionism, and who befriended and advised the younger artists.
Prior to the Impressionists, other painters, notably such 17th-century Dutch painters as Jan Steen, had focused on common subjects, but their approaches to composition were traditional. They arranged their compositions in such a way that the main subject commanded the viewer’s attention. The Impressionists relaxed the boundary between subject and background so that the effect of an Impressionist painting often resembles a snapshot, a part of a larger reality captured as if by chance. Photography was gaining popularity, and as cameras became more portable, photographs became more candid. Photography inspired Impressionists to capture the moment, not only in the fleeting lights of a landscape, but in the day-to-day lives of people.
The rise of the impressionist movement can be seen in part as a reaction by artists to the newly established medium of photography. The taking of fixed or still images challenged painters by providing a new medium with which to capture reality. Initially photography’s presence seemed to undermine the artist’s depiction of nature and their ability to mirror reality. Both portrait and landscape paintings were deemed somewhat deficient and lacking in truth as photography “produced lifelike images much more efficiently and reliably”. Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870, Musee d’Orsay
Another major influence was Japanese art prints (Japonism), which had originally come into France as wrapping paper for imported goods. The art of these prints contributed significantly to the “snapshot” angles and unconventional compositions which would become characteristic of the movement.
Edgar Degas was both an avid photographer and a collector of Japanese prints. His The Dance Class (La classe de danse) of 1874 shows both influences in its asymmetrical composition. The dancers are seemingly caught off guard in various awkward poses, leaving an expanse of empty floor space in the lower right quadrant.
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The Sea Seen From the Cliffs of Fecamp, 1881
으로 클로드 모네크기 시작 ₩255,999Au Val Saint-Nicolas Près Dieppe, Matin
으로 클로드 모네크기 시작 ₩283,589Cliff near Dieppe, Overcast Skies, 1897
으로 클로드 모네크기 시작 ₩280,759On the Cliffs near Dieppe, Sunset
으로 클로드 모네크기 시작 ₩280,759Cliff at Petit Ailly In Grey Weather, 1897
으로 클로드 모네크기 시작 ₩258,909La Pointe Du Petit Ailly
으로 클로드 모네크기 시작 ₩255,269Sur La Falaise, Au Petit Ailly
으로 클로드 모네크기 시작 ₩258,909Cliffs near Pourville, 1882
으로 클로드 모네크기 시작 ₩267,649Cliffs of Les Petites-Dalles, 1880
으로 클로드 모네크기 시작 ₩258,099Cliffs of Les Petites-Dalles, 1884
으로 클로드 모네크기 시작 ₩285,129Falaises Des Petites-Dalles 1884
으로 클로드 모네크기 시작 ₩252,439Low Tide at Pourville, near Dieppe, 1882
으로 클로드 모네크기 시작 ₩263,759Marée Basse Aux Petites-Dalles
으로 클로드 모네크기 시작 ₩255,999Morning at Etretat, 1883
으로 클로드 모네크기 시작 ₩252,439The Cliffs at Étretat 1885
으로 클로드 모네크기 시작 ₩252,439L’aiguille and the Porte D’eval, Etretat
으로 클로드 모네크기 시작 ₩252,439The Manneport Seen From the East, 1885
으로 클로드 모네크기 시작 ₩252,439The Manneport, Reflections of Water, 1885
으로 클로드 모네크기 시작 ₩252,439The Mannerport near Etretat, 1886
으로 클로드 모네크기 시작 ₩249,609The Manneport, Rock Arch West of Etretat, 1883
으로 클로드 모네크기 시작 ₩252,439The Manneport, Seen From Below, 1883
으로 클로드 모네크기 시작 ₩255,269The Rock Needle Seen Through the Porte D’aval, 1885-86
으로 클로드 모네크기 시작 ₩255,999The Rock Needle Seen Through the Porte D’aval, 1886
으로 클로드 모네크기 시작 ₩269,429The Needle of Etretat, Low Tide, 1883
으로 클로드 모네크기 시작 ₩263,759The Rock Needle and the Porte D’aval Seen From the West, 1886
으로 클로드 모네크기 시작 ₩255,269Etretat, Cliff of Aval, Sunset, 1885
으로 클로드 모네크기 시작 ₩243,939Etretat, Sunset, 1883
으로 클로드 모네크기 시작 ₩253,089The Manneport, Etretat In the Rain, 1885-86
으로 클로드 모네크기 시작 ₩249,609Cliffs In Etretat
으로 클로드 모네크기 시작 ₩255,999La Porte D’amount, Etretat, 1873
으로 클로드 모네크기 시작 ₩252,439Cliffs of the Porte D’aval, Grey Weather, 1883
으로 클로드 모네크기 시작 ₩261,819Soleil Couchant à Etretat
으로 클로드 모네크기 시작 ₩258,099Etretat, Sailing Boats Under the Sunset, 1882-83
으로 클로드 모네크기 시작 ₩260,929The Manneport, Cliff at Etretat, Sunset, 1883
으로 클로드 모네크기 시작 ₩263,759Agitated Sea at Etretat
으로 클로드 모네크기 시작 ₩252,439Port D’aval, Rough Sea, 1883
으로 클로드 모네크기 시작 ₩260,929Etretat, the Aval Door, Fishing Boats Leaving the Harbour, 1885
으로 클로드 모네크기 시작 ₩270,559The Manneport, 1882
으로 클로드 모네크기 시작 ₩273,469Etretat, 1864
으로 클로드 모네크기 시작 ₩280,759Étretat, Falaise D’aval
으로 클로드 모네크기 시작 ₩311,919Big Sea In Étretat
으로 클로드 모네크기 시작 ₩336,099Aiguille & Porte D’aval, Etretat – Sunset
으로 클로드 모네크기 시작 ₩358,769Etretat, the Needle Rock and Porte D’aval, 1885
으로 클로드 모네크기 시작 ₩300,589Etretat, Beach and the Porte D’amont
으로 클로드 모네크기 시작 ₩255,269Boats On the Beach In Etretat
으로 클로드 모네크기 시작 ₩252,439Étretat-The Beach and the Falaise D’amont (1885)
으로 클로드 모네크기 시작 ₩232,619Rough Weather at Étretat
으로 클로드 모네크기 시작 ₩255,999Low Tide at Varengeville (1882)
으로 클로드 모네크기 시작 ₩260,929Bateaux Devant Les Falaises De Pourville
으로 클로드 모네크기 시작 ₩270,559Cliffs and Sailboats at Pourville, 1882
으로 클로드 모네크기 시작 ₩277,929Cliff at Pourville, 1896
으로 클로드 모네크기 시작 ₩269,429L’ally Point, Low Tide, 1882
으로 클로드 모네크기 시작 ₩302,609Low Tide at Pourville, 1882
으로 클로드 모네크기 시작 ₩294,919Sunset at Pourville, 1882
으로 클로드 모네크기 시작 ₩260,929The Cliffs, Grey Weather, 1882
으로 클로드 모네크기 시작 ₩263,759Cliffs near Dieppe, 1882
으로 클로드 모네크기 시작 ₩263,759The Sea at Fecamp, 1881
으로 클로드 모네크기 시작 ₩252,439Etretat, Falaise Et Porte D’amont, Grosse Mer
으로 클로드 모네크기 시작 ₩252,439Fecamp, By the Sea, 1881
으로 클로드 모네크기 시작 ₩255,999The Sea at Saint-Adresse, 1868
으로 클로드 모네크기 시작 ₩266,599Heavy Sea at Pourville
으로 클로드 모네크기 시작 ₩270,559The Coast at Port D’amont, Rough Sea, 1886
으로 클로드 모네크기 시작 ₩252,439La Jetée De Fécamp Par Gros Temps
으로 클로드 모네크기 시작 ₩270,559Shadows On the Sea. the Cliffs at Pourville
으로 클로드 모네크기 시작 ₩266,599Fishing Nets at Pourville, 1882
으로 클로드 모네크기 시작 ₩260,929The Church at Varengeville, 1882
으로 클로드 모네크기 시작 ₩270,559The Church at Varengeville, 1882
으로 클로드 모네크기 시작 ₩253,089Port-Coton- Le Lion 1886
으로 클로드 모네크기 시작 ₩255,999Cote Sauvage, 1896
으로 클로드 모네크기 시작 ₩252,439Storm In the Belle-Ile Coast, 1886
으로 클로드 모네크기 시작 ₩255,999Storm On the Cote De Belle-Ile, 1886
으로 클로드 모네크기 시작 ₩249,609Bord De Mer à Sainte-Adresse
으로 클로드 모네크기 시작 ₩277,929Coucher De Soleil à Pourville, Pleine Mer
으로 클로드 모네크기 시작 ₩263,759The Seacoast of Pourville, Low Tide, 1882
으로 클로드 모네크기 시작 ₩255,999Rough Sea, 1881
으로 클로드 모네크기 시작 ₩249,609La Vague
으로 클로드 모네크기 시작 ₩267,649Waves Breaking, 1881
으로 클로드 모네크기 시작 ₩263,759Chevaux à La Pointe De La Hève
으로 클로드 모네크기 시작 ₩272,259Hauling A Boat Ashore, Honfleur, 1864
으로 클로드 모네크기 시작 ₩277,929Le Chantier De Petits Navires, Près De Honfleur
으로 클로드 모네크기 시작 ₩269,429The Beach at Honfleur, 1865
으로 클로드 모네크기 시작 ₩263,759The Beach at Saint-Adresse, 1876
으로 클로드 모네크기 시작 ₩263,759La Pointe De La Hève at Low Tide
으로 클로드 모네크기 시작 ₩294,919The Coast at Sainte-Adresse, 1864
으로 클로드 모네크기 시작 ₩311,919The Point of Heve, Honfleur, 1864
으로 클로드 모네크기 시작 ₩309,079The Beach at Fecamp, 1881
으로 클로드 모네크기 시작 ₩309,079Sainte-Adresse
으로 클로드 모네크기 시작 ₩280,759The Sunken Road In the Cliff at Varengeville
으로 클로드 모네크기 시작 ₩249,609The Petite Creuse River 1889
으로 클로드 모네크기 시작 ₩269,429La Vallée De La Creuse à Fresselines
으로 클로드 모네크기 시작 ₩252,439Rocks at Belle-Ile, 1887
으로 클로드 모네크기 시작 ₩252,439Rocks In Belle Ile (Port-Coton Pyramids. Stormy Sea) 1886
으로 클로드 모네크기 시작 ₩252,439The ‘Pyramids’ of Port Coton, Belle-Ile-En-Mer, 1886
으로 클로드 모네크기 시작 ₩246,779Belle-Ile, Rocks at Port-Goulphar, 1886
으로 클로드 모네크기 시작 ₩255,269Rocks at Port-Coton, the Lion, 1886
으로 클로드 모네크기 시작 ₩252,439La Creuse, Sunset
으로 클로드 모네크기 시작 ₩252,439Belle-Ile, 1886
으로 클로드 모네크기 시작 ₩226,959Belle-Ile, Port-Goulphar, 1887
으로 클로드 모네크기 시작 ₩252,439Bloc De Rochers à Port-Goulphar
으로 클로드 모네크기 시작 ₩226,959Rocks at Belle-Lle, Port-Domois
으로 클로드 모네크기 시작 ₩252,439