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Impressionism Impressionism 1 Impressionism • The movement has its roots in: Romanticism (feelings and emotions) AND the Realists (challenging the academies) • The term is coined from a Monet painting titled, Impression: Sunrise • The Impressionists exhibited together at eight shows between 1874 and 1886 (this does not mean they were always in complete agreement with each other!) 2 Impressionists: What they have in Common • Painting captures an impression—a moment • Brushwork: short and choppy • The effects of light on color! Plein Air (painting outside) • Limited use of black paint—Shadows created with dark green, blue, purple, and brown • Juxtaposition of complementary colors to create vibrancy • Creative, cropped compositions with unusual angles • For most, the Parisian middle class--bourgeoisie The Avant-Garde • Originally used for the French military—the units that advanced further from the troops • In art, those that led the way with bold concepts and works — “Ahead of the mainstream” • Generally, they were misunderstood by the public and rejected by the salons • When a style becomes mainstream (Impressionism does in the 1890s), it’s no longer considered avant-garde CLAUDE MONET, Impression: Sunrise, 1872*. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris. 5 Monet • At 19, moves to Paris but rejects the conventional training of the Ecole des Beaux Arts, instead choosing the more relaxed private schools • His wealthy family cuts him off, his wife dies and leaves him with two children, so he moves to Giverny • In 1890, he buys property in Giverny and employs six gardeners • Towards the end of his life, lives like a recluse with extremely failing eyesight CLAUDE MONET, Rouen Cathedral: The Portal (in Sun), 1894*. Oil on canvas, 3’ 3 1/4” x 2’ 1 7/8”. Metropolitan Museum of Art, New York 7 CLAUDE MONET, Saint-Lazare Train Station, 1877*. Oil on canvas, 2’ 5 3/4” x 3’ 5”. Musée d’Orsay, Paris. (Industrialization ) 10 GUSTAVE CAILLEBOTTE, Paris: A Rainy Day, 1877*. Oil on canvas, 6’ 9” x 9’ 9”. The Art Institute of Chicago, Chicago 11 Caillebotte • Wealthy engineer and boat builder who befriends the Impressionists • Helped to finance Impressionist exhibitions and collected more than 60 pieces of their work—these were left to the French people when he died • Although not with loose brushwork, subject matter and composition make it an Impressionist work PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876*. Oil on canvas, 4’ 3” x 5’ 8”. Musée d’Orsay, Paris. 13 RENOIR • Most famous for genre paintings of the bourgeoisie of Paris (females) • Friends with Monet • Used the model, Suzanne Valadon in paintings • In 1892, developed severe rheumatoid arthritis but continued to paint for over twenty years ÉDOUARD MANET, Bar at the Folies-Bergère, 1882*. Oil on canvas, 3’ 1” x 4’ 3”. Courtauld Institute of Art Gallery, London. 16 MANET WITH IMPRESSIONISM • Influences Impressionism and in turn, they influence him • Never exhibited with the Impressionists • His style is hard to pinpoint (Realism? Impressionism?) • Died at age 51, after complications due to syphilis and arthritis DEGAS • Focused on the female like Renoir • Classically trained (outstanding draughtsman). Considered an Impressionist but rejected the term for “realist” instead • Known for interior scenes—not “plein air” and did not adopt the same brushwork • Although his works looks “spontaneous”, he produced MANY sketches beforehand but photography also affects his composition • Later, his compositions adopt a “peering through a keyhole” approach and are influenced by Japanese woodblock prints EDGAR DEGAS, Ballet Rehearsal, 1874*. Oil on canvas, 1’ 11” x 2’ 9”. Glasgow Art Galleries and Museum, Glasgow 19 Degas, The Rehearsal on Stage, c.1874*, pastel over brush and ink Metropolitan Museum of Art WOMEN ARTISTS DURING IMPRESSIONISM • American (studied in Philadelphia), ex-patriot in Paris • Degas encouraged her to participate in the 4th Impressionist exhibition • Both Degas and Cassatt did not paint “en plein air”— focused on the domestic and social life of wealthy women • Influenced by Degas and Japanese prints MARY CASSATT, The Bath, ca. 1892*. Oil on canvas, 3’ 3” x 2’ 2”. The Art Institute of Chicago, Chicago 23 Mary Cassatt Maternal Caress 1891* Drypoint, soft- ground etching, and aquatint on paper Morisot • Married to Eduoard Manet’s brother • Exhibited with the Impressionists • Focused on outdoor leisure of Parisian middle-class (weekends to resorts at sea or the Seine)—with a sense of melancholy • Most paintings contain a main female figure, loose brushwork, natural light and color BERTHE MORISOT, Villa at the Seaside, 1874*. Oil on canvas, 1’ 7 3/4” x 2’ 1/8". Norton Simon Art Foundation, Los Angeles. 26 Japonisme 27 Japanese Wood-block Prints • In 1850, Japan opens itself to trade with the west • Culture captivates Parisians: Japonisme • A large exhibition of Japanese wood-block prints in 1890 influences ENORMOUSLY! • Ukiyo-e— “floating world” • These prints are inexpensive and many Impressionists collected them Hokusai, The Great Wave off Kanagawa, ca. 1826-1833 Left: EDGAR DEGAS, The Tub, 1886. Pastel, 1’ 11 ½” X 2’ 8 3/8”. Musee d’Orsay, Paris. Right: TORII KIYONAGA, detail of Two Women at the Bath, ca. 1780. Color woodblock, full print 10 ½” X 7 ½”, detail 3 ¾” X 3 ½”. Musee Guimet, Paris. 30 Monet with his collection of ukiyo-e.
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