- Choose your Country
- Choose your Country
임프레션리즘
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.
Read more401–500/3606개 결과 표시
La Fenaison après Midi de Juin
으로 알프레드 시슬리크기 시작 ₩260,929Parc Monceau, 1878
으로 클로드 모네크기 시작 ₩246,779Reading 1873
으로 베르트 모리소크기 시작 ₩320,069The Steamboat, Seascape with Porpoises 1868
으로 에두아르 마네크기 시작 ₩255,999The Window
으로 프레드릭 칼 프리제케크기 시작 ₩248,419Banks of the Seine at By
으로 알프레드 시슬리크기 시작 ₩267,649Bather with a Griffon Dog – Lise on the Bank of the Seine
으로 피에르 오귀스트 르누아르크기 시작 ₩313,269Bergère couchée 1891
으로 베르트 모리소크기 시작 ₩343,849Fumée D’ambre Gris (Smoke of ambergris) 1880
으로 존 싱어 사젠트크기 시작 ₩313,269Geraniums
으로 차일드 하삼크기 시작 ₩312,119Iris Bleus, Jardin Du Petit Gennevilliers
으로 구스타브 카일보트크기 시작 ₩246,779Sailing Boat, Evening
으로 클로드 모네크기 시작 ₩246,779Sea View, Calm Weather 1864
으로 에두아르 마네크기 시작 ₩255,269Through The Vines
으로 프레드릭 칼 프리제케크기 시작 ₩269,429Automne à Jeufosse
으로 클로드 모네크기 시작 ₩249,609Before Her Appearance
으로 프레드릭 칼 프리제케크기 시작 ₩248,419La Carmencita 1890
으로 존 싱어 사젠트크기 시작 ₩355,719Parisiennes in Algerian Costume Or Harem 1872
으로 피에르 오귀스트 르누아르크기 시작 ₩272,359Rainy Day, New York 1892
으로 차일드 하삼크기 시작 ₩320,059Shepherdess Resting
으로 베르트 모리소크기 시작 ₩326,869Study For House Painters , 1877
으로 구스타브 카일보트크기 시작 ₩267,649The Small Meadows in Spring
으로 알프레드 시슬리크기 시작 ₩267,649The Toilers of the Sea 1873
으로 에두아르 마네크기 시작 ₩304,169A Parisian Beggar Girl 1880
으로 존 싱어 사젠트크기 시작 ₩331,949Flowering Pear Tree, 1885
으로 클로드 모네크기 시작 ₩252,439La Seine à Bougival
으로 알프레드 시슬리크기 시작 ₩264,739New York Street Scene (Rainy Day, New York), 1892
으로 차일드 하삼크기 시작 ₩306,459Odalisque
으로 피에르 오귀스트 르누아르크기 시작 ₩340,459Reclining nude shepherdess 1891
으로 베르트 모리소크기 시작 ₩313,269Sunflowers, the Garden in Petit-Gennevilliers
으로 구스타브 카일보트크기 시작 ₩252,439Tarring the Boat 1873
으로 에두아르 마네크기 시작 ₩249,609Woman Before A Mirror
으로 프레드릭 칼 프리제케크기 시작 ₩275,769Bed of Daisies 1893-Panel 1
으로 구스타브 카일보트크기 시작 ₩338,929Bords Du Loing
으로 알프레드 시슬리크기 시작 ₩247,259Houses of Parliament, Symphony In Pink, 1900-01
으로 클로드 모네크기 시작 ₩244,349Mr. Eugène Petuiset, the Lion Hunter 1881
으로 에두아르 마네크기 시작 ₩265,519Rivière au Bois de Boulogne
으로 베르트 모리소크기 시작 ₩275,769Simplon Pass-Reading 1911
으로 존 싱어 사젠트크기 시작 ₩327,989The Guitar Player
으로 피에르 오귀스트 르누아르크기 시작 ₩282,599Woman at the Door 1889
으로 차일드 하삼크기 시작 ₩339,879Woman With A Mirror
으로 프레드릭 칼 프리제케크기 시작 ₩248,419A turn of the River Loing, Summer
으로 알프레드 시슬리크기 시작 ₩246,779Argenteuil, Flowers By the Riverbank, 1877
으로 클로드 모네크기 시작 ₩246,779Bed of Daisies 1893-Panel 2
으로 구스타브 카일보트크기 시작 ₩338,929Mrs. Hassam and Her Sister 1889
으로 차일드 하삼크기 시작 ₩363,619On The River
으로 프레드릭 칼 프리제케크기 시작 ₩282,599Tea
으로 베르트 모리소크기 시작 ₩283,479The Lady With the Umbrella 1911
으로 존 싱어 사젠트크기 시작 ₩316,089Woman with a Guitar
으로 피에르 오귀스트 르누아르크기 시작 ₩272,359Young woman in flowers 1879
으로 에두아르 마네크기 시작 ₩279,189Banks of the Seine at Jeufosse, Autumn, 1884
으로 클로드 모네크기 시작 ₩249,609Bed of Daisies 1893-Panel 3
으로 구스타브 카일보트크기 시작 ₩338,929Boy in Flowers (Jacques Hoschedé) 1876
으로 에두아르 마네크기 시작 ₩332,499Cabanes au Bord Du Loing, Effet Du Matin
으로 알프레드 시슬리크기 시작 ₩252,439Girl with a Guitar
으로 피에르 오귀스트 르누아르크기 시작 ₩283,479New York Street 1902
으로 차일드 하삼크기 시작 ₩272,359Repose At Noonday
으로 프레드릭 칼 프리제케크기 시작 ₩275,769The Artist’s Daughter, Julie, with her Nanny 1884
으로 베르트 모리소크기 시작 ₩305,079Two Girls With Parasols at Fladbury 1889
으로 존 싱어 사젠트크기 시작 ₩296,219A Siesta
으로 존 싱어 사젠트크기 시작 ₩320,059Banks of the Loing 1891
으로 알프레드 시슬리크기 시작 ₩249,609Bed of Daisies 1893-Panel 4
으로 구스타브 카일보트크기 시작 ₩338,929Conversation on the Avenue 1892
으로 차일드 하삼크기 시작 ₩308,139En Promenade
으로 프레드릭 칼 프리제케크기 시작 ₩275,769Parc Monceau, 1876
으로 클로드 모네크기 시작 ₩249,609The Lesson in the Garden 1886
으로 베르트 모리소크기 시작 ₩279,189The Monet Family in Their Garden at Argenteuil 1874
으로 에두아르 마네크기 시작 ₩326,869Young Spanish Woman with a Guitar 1898
으로 피에르 오귀스트 르누아르크기 시작 ₩276,449Argenteuil, Boat (study)
으로 에두아르 마네크기 시작 ₩263,759Autumn Effect at Argenteuil, 1873
으로 클로드 모네크기 시작 ₩263,759Bal-Bullier, Paris
으로 프레드릭 칼 프리제케크기 시작 ₩296,239Boat Moored on the Seine at Argenteuil
으로 구스타브 카일보트크기 시작 ₩246,779Les Bords Du Loing
으로 알프레드 시슬리크기 시작 ₩246,779Nude Seated, 1912
으로 차일드 하삼크기 시작 ₩258,679Simplon Pass-the Green Parasol 1911
으로 존 싱어 사젠트크기 시작 ₩321,419Two Nymphs Embracing
으로 베르트 모리소크기 시작 ₩279,189Young Girls at the Piano 1892
으로 피에르 오귀스트 르누아르크기 시작 ₩312,119Autumn On the Seine, Argenteuil (1873)
으로 클로드 모네크기 시작 ₩266,599Breakfast In The Garden
으로 프레드릭 칼 프리제케크기 시작 ₩272,359Les Peupliers à Moret Sur Loing, après Midi D’août
으로 알프레드 시슬리크기 시작 ₩249,609Music Lesson 1870
으로 에두아르 마네크기 시작 ₩300,189Nude 1903
으로 차일드 하삼크기 시작 ₩316,089Sailing Boats at Argenteuil 1888
으로 구스타브 카일보트크기 시작 ₩249,609Simplon Pass-the Tease 1911
으로 존 싱어 사젠트크기 시작 ₩312,119Under the Orange Tree (Sous l’oranger) 1888
으로 베르트 모리소크기 시작 ₩279,969Woman at the Piano
으로 피에르 오귀스트 르누아르크기 시작 ₩279,189Argenteuil, Fin D’après-Midi 1872
으로 클로드 모네크기 시작 ₩263,759Boats on the Seine
으로 구스타브 카일보트크기 시작 ₩252,439Lady On A Beach
으로 프레드릭 칼 프리제케크기 시작 ₩283,479Reclining Young Woman in Spanish Costume
으로 에두아르 마네크기 시작 ₩279,969Simplon Pass-At the Top 1909
으로 존 싱어 사젠트크기 시작 ₩312,119The Lorelei 1904
으로 차일드 하삼크기 시작 ₩279,189The Road in the Woods 1879
으로 알프레드 시슬리크기 시작 ₩253,089Woman with Child on a Boat
으로 베르트 모리소크기 시작 ₩286,989Young Girls at the Piano
으로 피에르 오귀스트 르누아르크기 시작 ₩296,219A Turkish Woman By a Stream 1907
으로 존 싱어 사젠트크기 시작 ₩324,019Argenteuil, Seen From the Small Arm of the Seine, 1872
으로 클로드 모네크기 시작 ₩260,929Le Repos au Bord Du Ruisseau. Lisière de Bois
으로 알프레드 시슬리크기 시작 ₩235,449Le Repose 1871
으로 에두아르 마네크기 시작 ₩289,419Nude- Isle of Shoals 1906
으로 차일드 하삼크기 시작 ₩292,829