Impressionism is a 19th-century art movement characterized by relatively small, thin, but visible brushes, open compositions, emphasis on accurate depiction of light in its quality of change (often accentuating effects of the passage of time), matter ordinary lessons, the inclusion of motion as an essential element of human perception and experience, and an unusual point of view. Impressionism began with a group of Paris-based artists whose independent exhibitions led them to fame during the 1870s and 1880s.
The Impressionists faced stiff resistance from the conventional art community in France. The name of this style comes from Claude Monet's title, Impression, Leastil Levant (Impression, Sunrise), which provokes Louis Leroy's critics to trade the term in a satirical review published in newspapers Paris Le Charivari .
The development of Impressionism in the visual arts was soon followed by analogue styles in other media known as impressionist and impressionist literature.
Video Impressionism
Overview
Radical of his time, the early Impressionists broke the rules of academic painting. They build their photos of freely brushed colors that take precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also paint a realistic view of modern life, and are often painted outdoors. Previously, it was still alive and portraits and scenery were usually painted in the studio. The Impressionists find that they can capture the effects of temporary and temporary sunshine by painting outside or en plein air . They depict the overall visual effect, not detail, and use short "broken" brush strokes with mixed and pure blending colors - not mixed with smooth or shade, as is the custom - to achieve intense color vibration effects.
Impressionism emerged in France at the same time that a number of other painters, including the Italian artist known as Macchiaioli, and Winslow Homer in the United States, also explored the plein-air painting. The Impressionists, however, develop new techniques specific to style. Covering what the adherents are arguing is a different way of view, this is the art of immediacy and movement, of the plain poses and compositions, of the game of light expressed in the use of bright and diverse colors.
The public, initially hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if art critics and artistic positions disagree with the new style.
By recreating the sensation in the eye that views the subject, instead of describing the details of the subject, and by creating great techniques and forms, Impressionism is the precursor of many painting styles, including Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.
Maps Impressionism
Beginning
In the mid-19th century - during a change, when Emperor Napoleon III rebuilt Paris and waged war - AcadÃÆ' m nà © nie des Beaux-Arts dominated French art. The AcadÃÆ'  © noodle is a traditional preserver of French traditional painting and style content. Historical subjects, religious themes, and portraits are respected; landscape and still life is not. The AcadÃÆ'  © nie prefer carefully finished images that look realistic when examined carefully. The painting in this style consists of the right brush strokes carefully coupled to hide the artist's hand at work. Colors are controlled and often softened further by the application of gold varnish.
AcadÃÆ' Â © noodles have annual art events, juries, Salon de Paris, and artists whose work is on display at the event win prizes, collect commissions, and enhance their prestige. The standards of the jury represent the values ​​of the AcadÃÆ' Â © nie, which is represented by works of artists such as Jean-LÃÆ' © © in GÃÆ'Ã… © rÃÆ'Â'me and Alexandre Cabanel.
In the early 1860s, four young painters - Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frà © mon Bazille - met while studying under academic artist Charles Gleyre. They find that they share an interest in the landscape of painting and contemporary life rather than historical or mythological scenes. Following a practice that has become increasingly popular in the mid-century, they often ventured into the countryside together to paint in the open air, but not for the purpose of sketching to be developed into a thoroughly finished work in the studio, as is customary. By painting in direct sunlight from nature, and using boldly synthetic life pigments that have been available since the beginning of this century, they began to develop lighter and brighter painting methods that further extend the Realism of Gustave Courbet and Barbizon schools. The favorite meeting place for artists is Cafà ©  © Guerbois on Avenue de Clichy in Paris, where discussions are often led by ÃÆ' â € ° Douard Manet, who is greatly admired by young artists. They soon joined Camille Pissarro, Paul CÃÆ'Ã… © zanne, and Armand Guillaumin.
During the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends who supported the works of artists loyal to approved styles. In 1863, the Salon jury rejected Manet's The Luncheon on the Grass (Le dà © à © jeuner sur l'herbe) mainly because it depicts a naked woman with two men dressed on picnic. While the Salon jury routinely receives nude in historical and allegorical paintings, they condemn Manet for putting realistic bare in contemporary settings. The jury's decisive rejection of Manet's painting shocked his admirers, and so many works that were rejected that year disrupted many French artists.
After Emperor Napoleon III saw works rejected in 1863, he decided that the public was allowed to judge the work itself, and the Salon des RefusÃÆ'Â © (Salon of the Refused) was organized. While many viewers came only to laugh, Salon des RefusÃÆ' Â © drew attention to the new trend in art and attracted more visitors than the usual Salon.
The artist's petition asked Salon des RefusÃÆ'  © s new in 1867, and again in 1872, was rejected. In December 1873, Monet, Renoir, Pissarro, Sisley, CÃÆ'  © zanne, Berthe Morisot, Edgar Degas, and several other artists established SociÃÆ' © tà © à © Anonyme CoopÃÆ' © rative des Artistes Peintres, Sculpteurs, Graveurs ("Co-operative and Anonymous Painters' Association") to showcase their artwork independently The association members are expected to participate in the Salon.The committee invites a number of other progressive artists to join them in its inaugural exhibition , including the older EugÃÆ'¨ne Boudin, who for example first persuaded Monet to adopt the painting plein air years earlier.Other artists deeply influencing Monet and his friends, Johan Jongkind, refused to participate , as did ÃÆ' â € ° Douard Manet.In total, thirty artists participated in their first exhibition, held in April 1874 at the studio fot Nadar ografer.
Critical response mixed. Monet and CÃÆ'Â © zanne received the loudest attack. Critics and humorist Louis Leroy wrote a scathing commentary in the newspaper Le Charivari where, making a word game with the title Claude Monet Impression, soleil levant , he gives the artist the name with whom they are known. Reversing his article The Impressionist Exhibition, Leroy stated that Monet's painting was at the most, sketches, and could hardly be called a finished work.
He writes, in the form of dialogue between viewers,
- Impression - I'm sure of it. I just tell myself that, because I am impressed, there must be an impression in it... and what freedom, what ease is it! Wallpaper in the embryo is more complete than the sea view.
The term Impressionist quickly received support from the public. It is also accepted by the artists themselves, though they are a diverse group in style and temperament, united primarily by the spirit of their independence and rebellion. They are exhibited together - albeit with membership shifting - eight times between 1874 and 1886. The Impressionist style, with a loose sweep of spontaneous brush, will soon become synonymous with modern life.
Monet, Sisley, Morisot, and Pissarro can be considered the "purest" Impressionists, in a consistent pursuit of the art of spontaneity, sunshine, and color. Degas rejected much of this, as he believed in the superiority of drawing over color and underestimated the practice of painting outdoors. Renoir turned away from Impressionism for a while during the 1880s, and never fully regained his commitment to his ideas. Douard Manet, though considered by the Impressionists as their leader, never abandoned the use of black liberal as a color, and never participated in the Impressionist exhibition. He continued to surrender his work to the Salon, where his painting won the 2nd class medal in 1861, and he urged others to do the same, arguing that "Salon is the real field of battle" in where reputation can be made.
Among the artists of the core group (minus Bazille, who had died in the Franco-Prussian War in 1870), the defection took place as CÃÆ' Â © zanne, followed later by Renoir, Sisley, and Monet, abstaining from the group exhibition so they could submit their work to the Salon. Disagreements arise from issues such as the Guillaumin membership in the group, championed by Pissarro and CÃÆ'Â © zanne against the opposition from Monet and Degas, who find it unfeasible. Degas invited Mary Cassatt to showcase his work at the exhibition in 1879, but also insisted that the inclusion of Jean-FranÃÆ'§ois RaffaÃÆ'Âlili, Ludovic Lepic, and other realists who did not represent the practice of the Impressionists, caused Monet in 1880 to accuse the Impressionists of " open the door to the first daubers come ". The group was divided upon invitations to Paul Signac and Georges Seurat for exhibitions with them in 1886. Pissarro was the only artist featured in all eight Impressionist exhibitions.
Individual artists grabbed some financial rewards from the Impressionist exhibit, but their art gradually won the level of public acceptance and support. Their dealer, Durand-Ruel, played a major role in this because he continued to work in public and organize shows for them in London and New York. Although Sisley died in poverty in 1899, Renoir had a remarkable Salon success in 1879. Monet became financially secure during the early 1880s and so did Pissarro in the early 1890s. At this moment the Impressionist painting method, in its diluted form, has become commonplace in Salon art.
Impressionist techniques
French painters who prepare the way for Impressionism include Romantic dyes Eugène Delacroix, realist leader Gustave Courbet, and Barbizon school painter ThÃÆ'  © odore Rousseau. The Impressionists learned much from the work of Johan Barthold Jongkind, Jean-Baptiste-Camille Corot and Eugè¨ne Boudin, who painted from nature with a direct and spontaneous style depicting Impressionism, and who befriend and advise young artists.
A number of identifiable techniques and work habits contribute to the innovative style of the Impressionists. Although this method has been used by previous artists - and is often seen prominently in the works of artists such as Frans Hals, Diego Velázquez, Peter Paul Rubens, John Constable, and J.Ã, M.Ã, W. Turner - The Impressionist is the first to use them together, and with such consistency. These techniques include:
- Short, thick paint strokes quickly capture the essence of the subject, not the details. Paint is often applied impasto.
- Colors are applied side by side with the least possible mixing, a technique that utilizes the principle of contrasting simultaneously to make the colors appear more clear to the viewer.
- Gray and dark tones are generated by mixing complementary colors. Pure impression avoids the use of black paint.
- Wet paint is placed in wet paint without waiting for a dry, dry app, resulting in softer edges and blending colors.
- Impressionist paintings do not exploit the transparency of thin paint films (glazes), which artists previously carefully manipulated to produce effects. The surface of impressionist paintings is usually opaque.
- The paint is applied to white or light-colored soil. Previously, painters often used gray or very dark basic colors.
- The game of natural light is emphasized. Close attention is given to the reflection of color from object to object. Painters often work in the evenings to produce effets de soir - the effects of night shadows or twilight.
- In the paintings created in plein air (outside), the shadows are painted in blue sky when reflected to the surface, giving a freshness not previously represented in the painting. (The blue shadow in the snow inspired the technique.)
New technology plays a role in style development. Impressionists take advantage of the introduction of mid-century premix paints in tin tubes (resembling modern toothpaste tubes), allowing artists to work more spontaneously, both outside and indoors. Previously, painters made their own paint, by grinding and mixing dry pigment powder with linseed oil, which was then stored in animal bags.
Many of the living synthetic pigments became commercially available to artists for the first time during the 19th century. These include cobalt blue, viridian, yellow cadmium, and synthetic ultramarine blue, all of which were used by the 1840s, before Impressionism. How to paint Impressionists use these colors with bold, and even newer colors like blue serulean, which became commercially available to artists in the 1860s.
Impressionist progress toward a brighter style of painting gradually. During the 1860s, Monet and Renoir were sometimes painted on canvas prepared with traditional red-brown or gray soil. In the 1870s, Monet, Renoir, and Pissarro usually chose to paint on lighter gray or beige colors, which served as the middle note in a finished painting. By the 1880s, some of the Impressionists had picked whiter or slightly white, and no longer allowed the color of the soil to play an important role in the finished painting.
Content and composition
Before the Impressionists, other painters, especially seventeenth-century Dutch painters like Jan Steen, have emphasized common subjects, but their traditional composition methods. They regulate their composition so that the main subject commands the attention of the viewers. The Impressionists loosened the boundary between the subject and the background so that the Impressionist painting effect often resembled a snapshot, part of a larger reality that was captured as if by chance. Photography is gaining in popularity, and as cameras become more portable, photos become more obvious. Impressionist inspired photography to represent momentary action, not only in the glimpse of the landscape, but in the daily life of people.
The development of Impressionism can be considered in part as a reaction by artists to the challenges presented by photography, which seem to undermine the artist's skill in reproducing reality. Portrait and landscape paintings are considered somewhat less and less true because photography "produces lifelike images much more efficiently and reliably".
Nevertheless, photography actually inspires artists to pursue other ways of creative expression, and rather than compete with photography to imitate reality, focused artists "on the one thing they can definitely do better than photographs - with more evolving into the art of shaping subjectivity in image conception , very subjectivity that photography was abolished ". The Impressionists try to express their perception of nature, rather than creating the right representation. This allows artists to portray subjectively what they see with their "necessities of taste and conscience". Photography encourages painters to exploit aspects of painting media, such as color, which at that time lacked photography: "The Impressionists are the first to consciously offer subjective alternatives to the photograph".
Another major influence is the Japanese ukiyo-e art prints (Japonism). This art of print contributes significantly to the "snapshot" angle and unconventional composition that characterizes Impressionism. Examples are Monet's Jardin ÃÆ' Sainte-Adresse , 1867, with thick beam color and composition on a strong diagonal slope showing the effect of Japanese mold
Edgar Degas is an industrious photographer and a Japanese mold collector. The Laude de Dance Class of 1874 showed good influence in its asymmetrical composition. The dancers seemed stunned in the various awkward poses, leaving the empty floor space stretching in the lower right quadrant. He also captured his dancers in sculptures, such as Little Dancers of the Fourteen Years .
Main Impressionist
The central figures in the development of Impressionism in France, listed alphabetically, are:
- FrÃÆ' Â © dic Bazille (who only posthumously participated in the Impressionist exhibition) (1841-1870)
- Gustave Caillebotte (younger than others, joined them in the mid-1870s) (1848-1894)
- Mary Cassatt (American-born, she lives in Paris and participates in four Impressionist exhibitions) (1844-1926)
- Paul CÃÆ' Â © zanne (though he later broke away from the Impressionists) (1839-1906)
- Edgar Degas (who hates the term Impressionist ) (1834-1917)
- Armand Guillaumin (1841-1927)
- ÃÆ' â € ° douard Manet (who did not participate in one of the Impressionist exhibitions) (1832-1883)
- Claude Monet (the most prolific of the Impressionists and the person who embodies their aesthetics most clearly) (1840-1926)
- Berthe Morisot (who participated in all Impressionist exhibitions except in 1879) (1841-1895)
- Camille Pissarro (1830-1903)
- Pierre-Auguste Renoir (who participated in the Impressionist exhibition in 1874, 1876, 1877 and 1882) (1841-1919)
- Alfred Sisley (1839-1899)
Gallery
Timeline: Impressionist Life
The Impressionists
Affected employees and artists
Among the close associates of the Impressionists there are some painters who adopt their methods to some degree. These included Jean-Louis Forain (who participated in the Impressionist exhibition in 1879, 1880, 1881 and 1886) and Giuseppe De Nittis, an Italian artist living in Paris who participated in the first Impressionist exhibition at the invitation of Degas, though other Impressionis belittled him to work. Federico Zandomeneghi is another Italian friend from Degas who performed with Impressionists. Eva GonzalÃÆ'¨s is a Manet follower who did not participate in the exhibition with the group. James Abbott McNeill Whistler is an American-born painter who plays a part in Impressionism even though he does not join the group and prefers gray. Walter Sickert, a British artist, was originally a follower of Whistler, and then an important disciple of Degas; he did not show with the Impressionists. In 1904, artist and writer Wynford Dewhurst wrote the first important study of French painters published in English, Impressionist painting: its origin and development, which popularized Impressionism in Britain.
In the early 1880s, Impressionist methods influenced, at least superficially, the art of the Salon. The fashionable painters like Jean BÃÆ'Â © raud and Henri Gervex find important and financial successes by lighting up their palettes while still maintaining the expected end result of Salon art. The works of these artists are sometimes referred to as Impressionism, although they are far from the practice of Impressionism.
The influence of French Impressionists lasted long after most of them died. Artists like J.D. Kirszenbaum borrowed Impressionist techniques throughout the 20th century.
Beyond France
As the influence of Impressionism spread beyond France, artists, who were too numerous to register, became identified as new-style practitioners. Some more important examples are:
- The American Impressionists, including Mary Cassatt, William Merritt Chase, Frederick Carl Frieseke, Childe Hassam, Willard Metcalf, Lilla Cabot Perry, Theodore Robinson, Edmund Charles Tarbell, John Henry Twachtman, Catherine Wiley and J. Alden Weir.
- The Australian Impressionists, including Tom Roberts, Arthur Streeton, Walter Withers, Charles Conder and Frederick McCubbin (who are prominent members of the Heidelberg School), and John Peter Russell, a friend of Van Gogh, Rodin, Monet and Matisse.
- The Amsterdam Impressionists in the Netherlands, including George Hendrik Breitner, Isaac IsraÃ, Wills Bastiaan Tholen, Willem de Zwart, Willem Witsen and Jan Toorop.
- Anna Boch, a friend of Vincent van Gogh Eug訨ne Boch, Georges Lemmen and ThÃÆ' Â © van Rysselberghe, an Impressionist painter from Belgium.
- Ivan Grohar, Rihard Jakopi ?, Matija Jama, and Matej Sternen, Impressionist from Slovenia. Early they were at Anton A school? Being in Munich and they are influenced by Jurij? Ubic and Ivana Kobilca, the Slovenian painter who works in Paris
- Wynford Dewhurst, Walter Richard Sickert, and Philip Wilson Steer are famous British Impressionist painters. Pierre Adolphe Valette, who was born in France but works in Manchester, is a teacher from L. S. Lowry.
- The German Impressionists, including Lovis Corinth, Max Liebermann, Ernst Oppler, Max Slevogt and August von Brandis.
- LÃÆ'¡szlÃÆ'³ MednyÃÆ'¡nszky in Hungary
- Theodor von Ehrmanns and Hugo Charlemont which is a rare Impressionist among the more dominant Viennese painter in Austria
- William John Leech, Roderic O'Conor, and Walter Osborne in Ireland
- Konstantin Korovin and Valentin Serov in Russia
- Francisco Oller y Cestero, a native of Puerto Rico and a friend of Pissarro and CÃÆ'Â © zanne
- James Nairn in New Zealand.
- William McTaggart in Scotland.
- Laura Muntz Lyall, Canadian artist
- W? adys? aw Podkowi? skiing, an Impressionist and symbolic Polish
- Nicolae Grigorescu in Romania
- Nazmi Ziya GÃÆ'¼ran, who brought Impressionism to Turkey
- Charobim Chafik in Egypt
- Eliseu Visconti in Brazil
- JoaquÃÆ'n Sorolla in Spain
- Faustino Brughetti, Fernando Fader, Candido Lopez, MartÃÆ'n Malharro, Walter de Navazio, RamÃÆ'³n Silva in Argentina
- Skagen Painter of a group of Scandinavian artists painting in a small fishing village in Denmark
- Nade? da Petrovi? in Serbia
- ÃÆ' sgrÃÆ'mur JÃÆ'³nsson in Iceland
- Fujishima Takeji in Japan
- Frits Thaulow in Norway and then France.
Sculpture, photography, and film
The sculptor Auguste Rodin is sometimes called Impressionist because of the way he uses roughly demonstrated surfaces to suggest temporary light effects.
Pictorial Photographers whose work is characterized by soft focus and atmospheric effects are also called Impressionists.
French Impressionist Cinema is a term applied to a group of films and loose filmmakers in France from 1919-1929, although these years are debatable. French Impressionist filmmakers include Abel Gance, Jean Epstein, Germaine Dulac, Marcel L'Herbier, Louis Delluc, and Dmitry Kirsanoff.
Music and literature
Music Impressionism is the name given to a movement in European classical music that emerged in the late 19th century and continued until the mid-20th century. Originating in France, Impressionism music is characterized by suggestions and atmosphere, and avoids the emotional excesses of the Romantic era. Impressionist composers prefer shorter forms such as nocturne, arabesque, and preliminary, and often explore unusual scales like the overall tone scale. Perhaps the most prominent innovation of Impressionist composers is the introduction of the 7 major chords and the expansion of chord structures in harmony 3rds to five and six parts.
The influence of visual impressionism on his music partners is debatable. Claude Debussy and Maurice Ravel are generally regarded as the greatest Impressionist composers, but Debussy denies the term, calling it a criticism. Erik Satie is also considered in this category, although his approach is regarded as less serious and more musical. Paul Dukas is another French composer who is sometimes regarded as an Impressionist, but his style may be closer to the late Romanticists. Impressionism outside France included composers such as Ottorino Respighi (Italy) Ralph Vaughan Williams, Cyril Scott, and John Ireland (England), and Manuel De Falla, and Isaac Albeniz (Spain).
The term Impressionism has also been used to describe literary works in which some of the details chosen are sufficient to convey sensory impressions of an event or scene. Impressionist literature is closely linked with Symbolism, with the main example being Baudelaire, Mallarmà ©  ©, Rimbaud, and Verlaine. Authors like Virginia Woolf, D.H. Lawrence, and Joseph Conrad have written Impressionistic works in the way they describe, rather than interpret, the impressions, the sensations and emotions that shape the mental life of a character.
Post-Impressionism
Post-Impressionism developed from Impressionism. During the 1880s several artists began to develop different teachings for the use of colors, patterns, shapes, and lines, derived from examples of Impressionists: Vincent van Gogh, Paul Gauguin, Georges Seurat, and Henri de Toulouse-Lautrec. The artists are a bit younger than the Impressionists, and their work is known as post-Impressionism. Some of the original Impressionist artists also ventured into this new territory; Camille Pissarro was briefly painted with a pointillist style, and even Monet left a tighter painting plein of water. Paul CÃÆ'Â © zanne, who participated in the first and third Impressionist exhibitions, developed a very individual vision that emphasized pictorial structure, and he was more often called a post-Impressionist. Although these cases illustrate the difficulty of defining labels, the original works of painter can be, by definition, categorized as Impressionism.
See also
Note
References
External links
- Hecht Museum
- Mauclair, Camille (1903):
- The French Impressionists (1860-1900) in Project Gutenberg
- Museumsportal Schleswig-Holstein
- Suburban Pastoral The Guardian, February 24, 2007 Impressionism: The painting collected by the European Museum (1999) is an art exhibition jointly organized by the High Museum of Art, the Atlanta, Seattle Art Museum and the Denver Art Museum, touring from May to December 1999. Guided tour online
- Monet Year at Giverny: Beyond Impressionism , a catalog of online exhibits entirely online as a PDF from The Metropolitan Museum of Art, which discusses the role of Monet in this movement
- Degas: The Artist's Mind , an online exhibition catalog entirely online as a PDF from The Metropolitan Museum of Art, which discusses Degas's role in this movement
- Definition of Impressionism on Tate Art Glossary
Source of the article : Wikipedia
0 Comments