Impressionism. Perception. Light. Time. Further rejection of traditions in Art

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Egbert Anthony
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1 Impressionism Perception. Light. Time. Further rejection of traditions in Art 1

2 Impressionism Escaping from the studio, Impressionist artists substituted a transient reality for a stable one. Rejecting ideas of the Academy (the establishment) artists were influenced by: --Parisian Life --Color theories of Chevreul --New concepts in Science about nature --Obsessive concerns with Time --Photography --Writings of Zola --Japanese Art CLAUDE MONET, Saint-Lazare Train Station, Oil on canvas, 2 5 3/4 x 3 5. Musée d Orsay, Paris. 2

of Chevreul --New concepts in Science about nature --Obsessive concerns with Time --Photography --Writings of

3 Louis Jacques Daguerre, Le Boulevard du Temple, 1839, Daguerreotype. Bayerisches National museum, Munich. 3

4 Our author states that Impressionism is the most important thing to happen in European Art since the Renaissance. Why? CLAUDE MONET, Impression: Sunrise, Oil on canvas, 1 7 1/2 x 2 1 1/2. Musée Marmottan, Paris. 4

5 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, Oil on canvas, 6 x 10. National Museum of American Art, Smithsonian Institution, Washington.

6 CLAUDE MONET, Saint-Lazare Train Station, Oil on canvas, 2 5 3/4 x 3 5. Musée d Orsay, Paris. 6

7 Monet, Haystack At Sunset, Oil on canvas, 1891 painted as a series. This is one of many paintings of haystacks at different times of the day. 7

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9 CLAUDE MONET, Rouen Cathedral: The Portal (in Sun), Oil on canvas, 3 3 1/4 x 2 1 7/8. Metropolitan Museum of Art, New York (Theodore M. Davis Collection, bequest of Theodore M. Davis, 1915). 9

10 EADWEARD MUYBRIDGE, Horse Galloping, Collotype print. George Eastman House, Rochester, New York. 10

11 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, Oil on canvas, approx. 4 3 x 5 8. Louvre, Paris. 11

12 ÉDOUARD MANET, A Bar at the Folies-Bergère, Oil on canvas, approx. 3 1 x 4 3. Courtauld Institute of Art Gallery, London. 12

13 EDGAR DEGAS, Ballet Rehearsal, Oil on canvas, 1 11 x 2 9. Glasgow Museum, Glasgow (The Burrell Collection). 13

14 EDGAR DEGAS, The Tub, Pastel, /2 x 2 8 3/8. Musée d Orsay, Paris. 14

15 BERTHE MORISOT, Villa at the Seaside, Oil on canvas, approx /4 x 2 1/8". Norton Simon Art Foundation, Los Angeles. 15

16 MARY CASSATT, The Bath, ca Oil on canvas, 3 3 x 2 2. The Art Institute of Chicago, Chicago (Robert A. Walker Fund). 16

17 Claude Monet, Water Lilies, ca Oil on canvas, 3 panels, 6 6 3/4 x /4. The Museum of Modern Art, New York). 17

18 Claude Monet, Water Lilies, ca Oil on canvas, 3 panels, 6 6 3/4 x /4. The Museum of Modern Art, New York). 18

19 Claude Monet, Water Lilies, ca Detail.). 19

20 Japonisme and Later Impressionism Japanese prints, emotion and concerns with formal elements concerned late Impressionist painters. Hokusai, Kabuki, 1799 Katsushika Hokusai,

21 Post-Impressionism While Impressionism is a term the artists of the time embraced, Post-Impressionism is one applied after-the-fact by historians. Basically, when looking at the art of these later artists, differences were seen. Differences from Impressionism are: emotional expression subject choices experimentation with form and color. individuality of artists and the styles each one developed. 21

22 GEORGES SEURAT, A Sunday on La Grande Jatte, Oil on canvas, approx The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926). 22

23 Seurat was influenced by color theories of Chevreul and formal compositional arrangements based on Renaissance Art. His dots of color mixed together in the eye of the viewer to create the vibrancy of light and different colors. GEORGES SEURAT, detail of A Sunday on La Grande Jatte,

24 Often referred to as the Father of Modern Art, art of Cezanne reflects his interest in form, perspective, and time, paved the way for Cubism. PAUL CÉZANNE, The Basket of Apples, ca Oil on canvas, 2 3/8 x 2 7. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926). 24

25 PAUL CÉZANNE, Mont Sainte-Victoire, Oil on canvas, 2 3 1/2 x /4. Philadelphia Museum of Art, Philadelphia (The George W. Elkins Collection). 25

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27 VINCENT VAN GOGH, The Night Café, Oil on canvas, approx /2 x 3. Yale University Art Gallery, New Haven (bequest of Stephen Carlton Clark, B.A., 1903). 27

28 VINCENT VAN GOGH, Starry Night, Oil on canvas, approx. 2 5 x 3 1/4. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest). 28

29 PAUL GAUGUIN, The Vision after the Sermon or Jacob Wrestling with the Angel, Oil on canvas, 2 4 3/4 x 3 1/2. National Gallery of Scotland, Edinburgh. 29

30 PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going?, Oil on canvas, / 16 x Museum of Fine Arts, Boston (Tompkins Collection). 30

Impressionists: What they have in Common

Impressionists: What they have in Common 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: