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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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On The Beach
으로 프레드릭 칼 프리제케크기 시작 ₩248,419Voiliers Sur La Seine à Argenteuil 1893
으로 구스타브 카일보트크기 시작 ₩306,249Young Lady on a Chaise Longue 1889
으로 베르트 모리소크기 시작 ₩275,769Yvonne and Christine Lerolle at the Piano
으로 피에르 오귀스트 르누아르크기 시작 ₩313,249Argenteuil
으로 클로드 모네크기 시작 ₩258,099Little, Valley, 1895
으로 알프레드 시슬리크기 시작 ₩246,779Lola of Valence, 1862
으로 에두아르 마네크기 시작 ₩289,419Nude, Appledore, Isle of Shoals 1913
으로 차일드 하삼크기 시작 ₩299,649On The Beach (Girl In Blue)
으로 프레드릭 칼 프리제케크기 시작 ₩255,359Peasant Girl Among Tulips 1890
으로 베르트 모리소크기 시작 ₩262,099Sailboat Moored on the Seine Argenteuil
으로 구스타브 카일보트크기 시작 ₩255,269The Chess Game
으로 존 싱어 사젠트크기 시작 ₩304,169The Excursionist 1888
으로 피에르 오귀스트 르누아르크기 시작 ₩279,189Champ De Blé
으로 클로드 모네크기 시작 ₩252,439Dolce Far Niente
으로 존 싱어 사젠트크기 시작 ₩456,329La Berge Et Le Pont D’argenteuil 1882
으로 구스타브 카일보트크기 시작 ₩255,999Lady Trying On A Hat
으로 프레드릭 칼 프리제케크기 시작 ₩279,189Masked Ball at the Opera, 1873
으로 에두아르 마네크기 시작 ₩255,999Meadow 1874
으로 알프레드 시슬리크기 시작 ₩267,649Plage de Nice
으로 베르트 모리소크기 시작 ₩279,969The Butterfly 1902
으로 차일드 하삼크기 시작 ₩292,829The Daughters of Durand Ruel
으로 피에르 오귀스트 르누아르크기 시작 ₩304,169After Luncheon
으로 베르트 모리소크기 시작 ₩279,189Dans Le Bois au Printemps
으로 알프레드 시슬리크기 시작 ₩260,929In the Café 1877
으로 피에르 오귀스트 르누아르크기 시작 ₩340,259Portrait d’Ernest Hoschedé et sa fille Marthe 1876
으로 에두아르 마네크기 시작 ₩316,089Regatta at Argenteuil
으로 클로드 모네크기 시작 ₩283,589The Banks of the Seine 1891
으로 구스타브 카일보트크기 시작 ₩260,929The Open Window
으로 프레드릭 칼 프리제케크기 시작 ₩282,599Val D’aosta-A Man Fishing 1907
으로 존 싱어 사젠트크기 시작 ₩308,139West Indian Girl 1936
으로 차일드 하삼크기 시작 ₩300,189Alice Gamby dans le salon 1890
으로 베르트 모리소크기 시작 ₩289,419Haystacks – White Frost, Sunrise, 1889
으로 클로드 모네크기 시작 ₩272,259Lisière de Fôret
으로 알프레드 시슬리크기 시작 ₩263,759Portrait of Madame Edouard Manet on a blue sofa 1874
으로 에두아르 마네크기 시작 ₩275,769Posing With Posies
으로 프레드릭 칼 프리제케크기 시작 ₩248,419The Black Brook (Rose-Marie Osmond) 1908
으로 존 싱어 사젠트크기 시작 ₩308,139The Goldfish Window 1916
으로 차일드 하삼크기 시작 ₩331,949The Yellow Boat 1891
으로 구스타브 카일보트크기 시작 ₩255,269Tilla Durieux
으로 피에르 오귀스트 르누아르크기 시작 ₩279,189Bowl of Goldfish
으로 차일드 하삼크기 시작 ₩312,119Buste De Femme, De Profil
으로 피에르 오귀스트 르누아르크기 시작 ₩272,359Jeune Femme 1871
으로 베르트 모리소크기 시작 ₩272,359La Place Saint-Augustin, Temps Brumeux 1878
으로 구스타브 카일보트크기 시작 ₩253,089Le Loing à Saint Mammès
으로 알프레드 시슬리크기 시작 ₩260,929Portrait of the Poet Zacharie Astruc 1866
으로 에두아르 마네크기 시작 ₩282,599Stacks of Wheat (Sunset, Snow Effect)
으로 클로드 모네크기 시작 ₩283,589The Judas Tree
으로 프레드릭 칼 프리제케크기 시작 ₩282,599Zuleika 1906
으로 존 싱어 사젠트크기 시작 ₩324,019Celia Thaxter’s Garden, Isles of Shoals, Maine, 1890
으로 차일드 하삼크기 시작 ₩246,779Girl with a Blue Ribbon 1888
으로 피에르 오귀스트 르누아르크기 시작 ₩272,359Grainstacks at the End of the Day, Autumn, 1891
으로 클로드 모네크기 시작 ₩283,589Jeune fille dans un parc
으로 베르트 모리소크기 시작 ₩265,519Lady and Child asleep In a Punt Under the Willows 1887
으로 존 싱어 사젠트크기 시작 ₩309,159Le Marronnier à Saint Mammès
으로 알프레드 시슬리크기 시작 ₩263,759Rose Garden
으로 프레드릭 칼 프리제케크기 시작 ₩248,419Spanish Ballet 1862
으로 에두아르 마네크기 시작 ₩402,469The Nap 1877
으로 구스타브 카일보트크기 시작 ₩275,089Confidence, 1897
으로 피에르 오귀스트 르누아르크기 시작 ₩304,169Henri Cordier 1883
으로 구스타브 카일보트크기 시작 ₩279,189Jeune Fille Écrivant
으로 베르트 모리소크기 시작 ₩262,099Le Chemin de Montbuisson à Louveciennes
으로 알프레드 시슬리크기 시작 ₩260,929Poppies on the Isles of Shoals 1890
으로 차일드 하삼크기 시작 ₩249,609Stacks of Wheat (End of Summer)
으로 클로드 모네크기 시작 ₩302,609Stéphane Mallarmé 1876
으로 에두아르 마네크기 시작 ₩286,009The Flower Garden
으로 프레드릭 칼 프리제케크기 시작 ₩248,419Under the Willows 1887
으로 존 싱어 사젠트크기 시작 ₩300,189At the Milliner’s 1878
으로 피에르 오귀스트 르누아르크기 시작 ₩312,119Jeune fille lisant
으로 베르트 모리소크기 시작 ₩289,419Landscape With Goats 1909
으로 존 싱어 사젠트크기 시작 ₩261,819Le chemin de Butte, Retour en forêt
으로 알프레드 시슬리크기 시작 ₩279,299Lilies
으로 프레드릭 칼 프리제케크기 시작 ₩286,989Poppies, Isles of Shoals, 1891
으로 차일드 하삼크기 시작 ₩249,609Portrait De A. Cassabois 1877
으로 구스타브 카일보트크기 시작 ₩262,099The Balcony
으로 에두아르 마네크기 시작 ₩353,979The Undergrowth In the Forest of Saint-Germain
으로 클로드 모네크기 시작 ₩260,929Femme à l’éventail
으로 베르트 모리소크기 시작 ₩275,769Lady In A Garden
으로 프레드릭 칼 프리제케크기 시작 ₩279,189Lovers
으로 피에르 오귀스트 르누아르크기 시작 ₩316,089Paysanne sous les arbres fruitiers
으로 알프레드 시슬리크기 시작 ₩246,779Portrait D’homme 1881
으로 구스타브 카일보트크기 시작 ₩272,359Sketch For ‘Carnation, Lily, Lily, Rose’ 1885
으로 존 싱어 사젠트크기 시작 ₩296,219The room of flowers
으로 차일드 하삼크기 시작 ₩229,789Water Lilies, 1916-19
으로 클로드 모네크기 시작 ₩238,279Woman Reading
으로 에두아르 마네크기 시작 ₩275,769By the Sea
으로 구스타브 카일보트크기 시작 ₩272,359Femme cousant (Woman Sewing) 1879
으로 베르트 모리소크기 시작 ₩275,769La Mare aux Canards
으로 알프레드 시슬리크기 시작 ₩246,779La Promenade
으로 피에르 오귀스트 르누아르크기 시작 ₩304,169Nude In Flowers
으로 프레드릭 칼 프리제케크기 시작 ₩279,189Nymphéas 1907
으로 클로드 모네크기 시작 ₩252,439Study For Carnation, Lily, Lily, Rose’ 1885
으로 존 싱어 사젠트크기 시작 ₩351,759View of a Southern French City 1902
으로 차일드 하삼크기 시작 ₩275,769Woman With a Jug
으로 에두아르 마네크기 시작 ₩265,519After the Luncheon
으로 피에르 오귀스트 르누아르크기 시작 ₩326,519Cows in Pasture, Louveciennes
으로 알프레드 시슬리크기 시작 ₩249,609Dorothy Barnard 1885
으로 존 싱어 사젠트크기 시작 ₩347,799Émilie Ambre as Carmen 1880
으로 에두아르 마네크기 시작 ₩279,189Figure of a Woman
으로 베르트 모리소크기 시작 ₩350,629Hollyhocks
으로 프레드릭 칼 프리제케크기 시작 ₩377,589