Impressionism

What is Impressionism?
 Impressionism was an art movement that came up in the 19th century in France. Critic
Louis Leroy coined the term in a satiric review on Impression, the work of art by Claude
Monet. Claude Monet was the founder of the French Impressionist Painting.

Impressionist art is a style of art characterized by unique visual angles, prominently

evident brush strokes and an open composition. The art form emphasizes on the
changing patterns of light to indicate the passage of time. It deals with capturing an
object as if someone has caught just a glimpse of it. Hence, images have lesser details.
But the paintings are often brightly colored and involve an element of movement.

The Impressionist style of painting emphasized loose imagery rather than finely
delineated pictures. The artists of the movement worked mostly outdoors and strived to
capture the variations of light at differing times throughout the day. Their color palettes
were colorful and they rarely used blacks or grays. Subject matter was most often
landscape or scenes from daily life. Impressionists were interested in the use of color,
tone, and texture in order to objectively record nature. They emphasized sunlight,
shadows, and direct and reflected light. In order to produce vibrant colors, they applied
short brush strokes of contrasting colors to the canvas, rather than mixing hues on a
palette.
The Founders:

 The founders of this society were animated by the will to break with
the official art. The official theory that the color should be dropped
pure on the canvas instead of getting mixed on the palette will only be
respected by a few of them and only for a couple of years. In fact, the
Impressionism is a lot more a state of the mind than a technique; thus
artists other than painters have also been qualified of impressionists.
Many of these painters ignore the law of simultaneous contrast as
established by Chevreul in 1823.
 The expressions ``independants'' or ``open air painters'' may be more
appropriate than ``impressionists'' to qualify those artists continuing a
tradition inherited from Eugène Delacroix, who thought that the
drawing and colors were a whole, and English landscape painters,
Constable, Bonington and especially William Turner, whose first law
was the observation of nature, as for landscape painters working in
Barbizon and in the Fontainebleau forest.
 Eugène Boudin, Stanislas Lépine and the Dutch Jongkind were
among the forerunners of the movement. In 1858, Eugène Boudin
met in Honfleur Claude Monet, aged about 15 years. He brought
him to the seashore, gave him colors and taught him how to observe
the changing lights on the Seine estuary. In those years, Boudin is
still the minor painter of the Pardon de Sainte-Anne-la-Palud, but is
on the process of getting installed on the Normandy coast to paint
the beaches of Trouville and Le Havre. On the Côte de Grâce, in the
Saint-Siméon farm, he attracts many painters including Courbet,
Bazille, Monet, Sisley. The last three will meet in Paris in the free
Gleyre studio, and in 1863 they will discover a porcelain painter,
Auguste Renoir.

 At the same time, other artists wanted to bypass the limitations

attached to the Ecole des Beaux-Arts and were working quai des
Orfèvres in the Swiss Academy; the eldest, from the Danish West
Indies, was Camille Pissarro; the other two were Paul Cézanne and
Armand Guillaumin.
Impressionists from different countries

France:
Eduard Manet Armand Guillaumin
Claud Monet Frederic Bazille
Pierre Aguste Renoir
Alfred Sisley
Edgar Degas
Camille Pissarro
Berthe Morisot
 Russia:

Constantin Korovin
Arkhip Kuinji
Nathan Altman
Isaac Levitan
Valentin Serov
 America:

Mary Cassatt
Francis Coates Jones
John Singer Sargent
Frederick Carl Frieseke
Albert Henry Krehbiel
Famous impressionists
Jan. 23, 1832, Paris, France - April 30, 1883, Paris

French painter and printmaker who in his own work accomplished the
transition from the realism of Gustave Courbet to Impressionism. Manet
broke new ground in choosing subjects from the events and appearances of
his own time and in stressing the definition of painting as the arrangement
of paint areas on a canvas over and above its function as representation.
Exhibited in 1863 at the Salon des Refusés, his Le Déjeuner sur
l'herbe("Luncheon on the Grass") aroused the hostility of the critics and the
enthusiasm of a group of young painters who later formed the nucleus of the
Impressionists. His other notable works include Olympia (1863) and A Bar at
the Folies-Bergère (1882).

Encyclopaedia Britannica, 1994

 Works of Manet

Grapes, Peaches and Almonds

1864; Musée d'Orsay, Paris

Portrait of Zacharie Astruc

1866; Oil on canvas, 90 x 116 cm;
Kunsthalle, Bremen
A Bar at the Folies-
Bergère (detail),
Édouard Manet, 1882
The Samuel
Courtauld Trust,
Courtauld Institute of
Art Gallery, London
 Portrait d'Emile Zola
1868 (110 Kb); Oil on canvas,
146 x 114 cm (57 1/2 x 44 7/8
in); Musee d'Orsay, Paris
Le Chemin de Fer (The Railroad)
1872-73 (170 Kb); Oil on canvas, 93
x 114 cm (36 1/2 x 45 in); National
Gallery of Art, Washington
The Balcony Le Repos
1869 (130 Kb); Oil on canvas, 170 x 124 1870
cm (66 1/2 x 49 1/4 in); Musee d'Orsay,
Paris
On the Beach Monet Painting in His Floating Studio
1873; Musée d'Orsay, Paris 1874; Bayerische
Staatsgemaldesammlungen, Munich
this artwork shows the painter's passion
for open-air painting
Le Dejeuner Sur L’herbe (The luncheon on the Olympia
grass)

Musee d'Orsay; Oil on canvas, 81 x 101 cm 1863 (130 Kb); Oil on canvas, 130.5 x 190
cm (51 3/8 x 74 3/4 in) Musee d'Orsay,
Paris
 Nov. 14, 1840, Paris, France - Dec. 5, 1926, Giverny

 French painter, initiator, leader, and unswerving advocate of

the Impressionist style. He is regarded as the archetypal
Impressionist in that his devotion to the ideals of the
movement was unwavering throughout his long career, and it
is fitting that one of his pictures--Impression: Sunrise (Musée
Marmottan, Paris; 1872)--gave the group his name.

 Encyclopaedia Britannica, 1994

Works of Monet (Includes his early works, First impressionist painting, Later impressionist,
and last years)

Houses of Parliament, London

Rouen Cathedral: Full Sunlight 1905 (50 Kb); Oil on canvas, 81 x 92 cm (31 7/8 x 36 1/4
1894; Louvre, Paris in); Musee Marmottan, Paris
 Garden at Sainte-Adresse
1867 (140 Kb); Oil on canvas, 98.1
The Beach at Sainte-Adresse
1867 La femme au métier
x 129.9 cm (38 5/8 x 51 1/8 in);
Metropolitan Museum of Art,
1875; Oil on canvas, 65 x 55 cm
New York

Water Lilies
1906 (190 Kb); Oil on canvas, Meule, Effet de Neige, le
The Seine at Argenteuil Matin (Morning Snow Effect)
87.6 x 92.7 cm (34 1/2 x 36 1/2
in); The Art Institute of
Chicago
Poplars along the River Epte,
Autumn
1891 (260 Kb); Oil on
canvas, 100 x 65 cm (39 3/8 x
25 5/8 in); Private collection
On the bank of the Seine,
Bennecourt
1868
Saint-Lazare Station
1877 (180 Kb); Oil on canvas,
54.3 x 73.6 cm (21 3/8 x 29 in);
National Gallery, London
The Japanese Bridge
Probably 1918-24 (280 Kb); Oil on
canvas, 89 x 116 cm (35 x 45 3/4 in);
The Minneapolis Institute of Arts
 July 10, 1830, St. Thomas, Danish West Indies - Nov. 13, 1903,
Paris

 French Impressionist painter, who endured prolonged

financial hardship in keeping faith with the aims of
Impressionism. Despite acute eye trouble, his later years were
his most prolific. The Parisian and provincial scenes of this
period include Place du Théâtre Français (1898) and Bridge at
Bruges (1903).

 Encyclopaedia Britannica, 1994

 Works of Pissarro
The Stage Coach at Louveciennes
1870; Musée d'Orsay
Peasant Girl Drinking
her Coffee
1881 (200 Kb); Oil on
canvas, 65.3 x 54.8 cm
(25 1/8 x 21 3/8"); The
Art Institute of Chicago
Le verger (The Orchard)
1872 (160 Kb); Oil on linen, 45.1 x
54.9 cm (17 3/4 x 21 5/8"); National
Gallery of Art, Washington
Village Path
1875; Rudolphe
Staechelin
Foundation, Basel
Les chataigniers a Osny
(The Chestnut Trees at
Osny)
c. 1873 (220 Kb); Oil on
canvas, 65 x 81 cm (25 5/8
x 31 7/8"); Private
collection, New Jersey
``The Fair in Dieppe, Sunny
Morning'
La Foire a Dieppe, matin, soleil (détail)
(180 Kb)
Wooden landscape at L’hermitage,
Pontoise
 July 19, 1834, Paris, France - Sept. 27, 1917, Paris

 French artist, acknowledged as the master of drawing the human

figure in motion. Degas worked in many mediums, preferring
pastel to all others. He is perhaps best known for his paintings,
drawings, and bronzes of ballerinas and of race horses.
 The art of Degas reflects a concern for the psychology of movement
and expression and the harmony of line and continuity of contour.
These characteristics set Degas apart from the other impressionist
painters, although he took part in all but one of the 8 impressionist
exhibitions between 1874 and 1886.

 Encyclopaedia Britannica, 1994

 Works of Degas

Portraits in an Office

Aux courses en province

(At the Races in the Place de la
Country) Concorde
c. 1872 (120 Kb); Oil on 1875 (250 Kb); Oil
canvas, 36.5 x 55.9 cm (14 on canvas, 78.4 x
3/8 x 22"); Museum of 117.5 cm (30 7/8 x
Fine Arts, Boston 46 1/4 in); No. 3K
1399; Formerly
collection
Gerstenberg/Schar
Les repasseuses (Women Ironing) f, Berlin;
Hermitage, St
1884 (200 Kb); Oil on canvas, 76 x 81
Petersburg
cm (29 7/8 x 31 7/8 in); Musee
d'Orsay, Paris
 Three Ballet Dancers,
One with Dark
Crimson Waist
1899 Pastel on paper,
23 1/4 x 19 1/4 in;

Singer with a Glove

c. 1878 (110 Kb); Pastel
and liquid medium on L'absinthe
canvas, 52.8 x 41.1 cm (20 1876 (larger version, 140
3/4 x 16 in); Fogg Art Kb); Oil on canvas, 92 x
Museum, Harvard 68 cm (36 1/4 x 26 3/4
University, Cambridge,
in); Musee d'Orsay,
MA
Paris
 Rehearsal of a Ballet on Stage

In the right background of Degas’s picture sit two well dressed, middle-aged men, each probably a
“protector” (lover) of the one of the dancers. Because ballerinas came from lower-class families and
exhibited their scantily clad bodies in public-something that “respectable” bourgeios women did not do-they
were widely assumed to be sexually available.
 Feb. 25, 1841, Limoges, France - Dec. 3, 1919, Cagnes

 French painter originally associated with the

Impressionist movement. His early works were typically
Impressionist snapshots of real life, full of sparkling
colour and light. By the mid-1880s, however, he had
broken with the movement to apply a more disciplined,
formal technique to portraits and figure paintings,
particularly of women (e.g. , Bathers, 1884-87).

 Encyclopaedia Britannica, 1994

Works of Reinor (Includes his Bathers, Portraits, Dancers, Landscapes and still life)

In the meadow The Swing

Young Boy with a Cat
1868-69 (20 Kb); Musee 1876 (200 Kb); Oil
d'Orsay in Paris on canvas, 92 x 73
cm (36 1/4 x 28
3/4"); Musee
d'Orsay, Paris

Jeunes filles au piano

(Girls at the Piano)
1892 (150 Kb); Oil on
canvas, 116 x 90 cm (45
5/8 x 35 3/8 in); Musee
d'Orsay, Paris
Seated Bather
c. 1883-1884 (140 Kb); Oil Mademoiselle Romain Lacaux Alfred Sisley and his Wife
on canvas, 119.7 x 93.5 cm 1868; Wallraf-Richartz
(47 1/8 x 36 3/4 in); Fogg Museum, Cologne
Art Museum, Harvard
University, Cambridge, MA

Danseuse (Dancer)
1874 (100 Kb); Oil on canvas,
142.5 x 94.5 cm (56 1/8 x 37
1/8"); National Gallery of
Art, Washington D.C. -
Widener Collection Le Moulin de la Galette
1876 (170 Kb); Oil
on canvas, 131 x 175
cm; Musée d'Orsay
 Aug. 19, 1848 - Feb. 21, 1894

 French painter and a generous patron of the impressionists, whose own

works, until recently, were neglected. He was an engineer by profession, but
also attended the Ecole des Beaux-Arts in Paris. He met Edgar Degas, Claude
Monet, and Pierre Auguste Renoir in 1874 and helped organize the first
impressionist exhibition in Paris that same year. He participated in later
shows and painted some 500 works in a more realistic style than that of his
friends. Caillebotte's most intriguing paintings are those of the broad, new
Parisian boulevards. The boulevards were painted from high vantage points
and were populated with elegantly clad figures strolling with the
expressionless intensity of somnambulists, as in Boulevard Vu d'en Haut
(1880; private collection, Paris). Caillebotte's superb collection of
impressionist paintings was left to the French government on his death. With
considerable reluctance the government accepted part of the collection.

 Encyclopaedia Britannica, 1994

 Works of Caillebote

Paris street, rainy day (Rue de

Paris, temps de pluie;
Intersection de la Rue de Turin Thatched Cottage at Trouville
et de la Rue de Moscou ) 1882 (90 Kb); Oil on canvas;
1877 (100 Kb); Paris: A Rainy Art Institute of Chicago
Day depicts an area of the
Batignolles quarter.
Oil on canvas, 212.2 x 276.2 cm
(83 1/2 x 108 3/4"); The Art
Institute of Chicago; part of
the Charles H and Mary F.s.
Worcester Fund
 Les raboteurs de parquet (The Floor- Scolls
Scrapers)
1875 (150 Kb); Oil on
canvas, 102 x 146.5 cm
(40 x 57 3/4"); Musee
d'Orsay, Paris

Rooftops under snow

1878, Musée d'Orsay
 May 22, 1844, Allegheny City, Pa., U.S. - June 14, 1926, Château de
Beaufresne, near Paris, France

 American painter and printmaker who exhibited with the Impressionists.

The daughter of an affluent Pittsburgh businessman, whose French
ancestry had endowed him with a passion for that country, she studied art
at the Pennsylvania Academy of Fine Arts in Philadelphia, and then
travelled extensively in Europe, finally settling in Paris in 1874. In that year
she had a work accepted at the Salon and in 1877 made the acquaintance of
Degas, with whom she was to be on close terms throughout his life. His art
and ideas had a considerable influence on her own work; he introduced
her to the Impressionists and she participated in the exhibitions of 1879,
1880, 1881 and 1886, refusing to do so in 1882 when Degas did not.

 Encyclopaedia Britannica, 1994

 Works of Cassatt

The Toreador Margot in Blue

The Lamp 1902 (40 Kb);
1873 (40 Kb); Oil on 1891 (50 Kb);
canvas; Art Institute of Pastel on heavy
drypoint, soft ground, paper with light
Chicago and aquatint on canvas back; The
paper; Art Institute of Walters Art
Chicago Gallery at
Baltimore, MD
 On a Balcony During a
Carnival
1873 (40 Kb); Oil on canvas;
Philadelphia Museum of Art

Little Girl in a Blue

Armchair
1878 (30 Kb); Oil on
canvas; National Gallery of
Art in Washington D.C. At the Theater
1879 (50 Kb); Pastel on paper;
Nelson-Atkins Museum of
Art at Kansas City, MO
 Lydia in a Loge, Wearing a Pearl
Necklace
1879
Oil on canvas
31 5/8 x 23 in (80.3 x 58.4 cm)
Philadelphia Museum of Art Maternal Caress (16.2.5)". In Heilbrunn Timeline
of Art History. New York: The Metropolitan
Long known as Lydia an a loge, Wearing a Museum of Art, 2000–.
pearl necklace, this painting was believed to http://www.metmuseum.org/toah/works-of-
portray Cassatt’s sister, Lydia, who came to art/16.2.5 (October 2006)
live with her in 1877 and posed for many of
her works.
 Jan. 14, 1841, Bourges, France - March 2, 1895, Paris

 French painter and printmaker. The first woman to join the circle of
the French impressionist painters, she exhibited in all but one of
their shows, and, despite the protests of friends and family,
continued to participate in their struggle for recognition. Her own
carefully composed, brightly hued canvases are often studies of
women, either out-of-doors or in domestic settings. Morisot and
American artist Mary Cassatt are generally considered the most
important women painters of the later 19th century.

 Encyclopaedia Britannica, 1994

 Works of Morisot

Marine (The Harbor at

Portrait of Marcel Gobillard (Little Boy in
Lorient)
Gray)
1869 (130 Kb); Oil on canvas, 1880; private collection in Geneva.
43.5 x 73 cm (17 1/2 x 28 3/4"); The model is Mme Morisot's nephew.
National Gallery of Art,
Washington

The Artist's Sister at a Window

1869; National Gallery of Art,
Washington
Butterfly Hunt Cache-cache (Hide-and-Seek)
1874; Musée d'Orsay, Paris 1873 (150 Kb); Oil on canvas, 45 x
The models are Edma and 55 cm (17 3/4 x 21 5/8"); Collection
her children. Mrs. John Hay Whitney, New York

Summer's Day
about 1879
The Birth of Modern Art
Manet and the Impressionists are generally regarded as the initiators of Modern Art,
a many faceted movement that began probably in the 1860s and lasted for just over
a hundred years. Rather than a cohesive movement with specific stylistic
characteristics (such as Rococo , for example), Modern art is distinguished primarily
by a rejection of the traditions of art that have been handed down since the
Renaissance.

Despite the angry protestations of conservative critics, the rejection of tradition did
not happen all at once. In fact, the Modern art movement unfolded in a gradual and
even logical way, as artists questioned and threw out one rule after another in
succeeding decades.

Modernism was not revolutionary but rather evolutionary. After Impressionism

began to run its course in the middle 1880s, other movements came along to
challenge other aspects of the tradition.To these artists and movements we turn
next: Post-Impressionism.
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Sources: Reference:
www.google.com A book from: UP college of Fine Arts
www.ibiblio.org Library via Mrs. Jing Turalba
www.wikipedia.com
www.metmuseum.org
www.artchive.com

Philippine Women’s University- School of Fine Arts and Design