French Impressionism

French impressionism:

French impressionism

Slide 2:

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 ). Characteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes, open composition, emphasis on the accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, the inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. The emergence of Impressionism in the visual arts was soon followed by analogous movements in other media which became known as Impressionist music and Impressionist literature. Anti-establishment artists such as Gustave Courbet and Jean Francois Millet had already started to paint real life images (Realism) instead of mythology, fantasy and historical topics, but they were still painting using traditional techniques of applying paint (applying the paint smoothly to the canvas and blending it to create a flat surface). The story of Impressionism is almost a comet that passes through the history of art, completely revolutionizing the technique above. It lasts less than twenty years to 1880 Impressionism can already be considered a closed experience. However, it leaves a legacy which will deal with all the pictorial experiences later. It is risky to say that Impressionism is to open the history of contemporary art.

DEGAS By photographer Ballerina:

The dancers are a favorite subject of Degas that their dedication is not only dozens of paintings but also many statues that have become too famous. In his theme are several interesting points : first of all express the search for the grace of the dancers from childhood , so the expression of the movement and finally the study of new shots . Note, for example , under 'L'Etoile', the boldness of the view from above , which image a particular fascination . The girl you see only one leg, which gives it a look very unstable. But this increases the feeling of being dynamic. His figure does not occupy the center of the image but is clearly off center . For almost two thirds of the picture and then dominates the floor of the stage, while the rest of us a glimpse of the scenes which are hidden behind other dancers . But the viewer's attentionis captured from the moment the whole movement of the dancer stops in a pose of extreme lightness and grace. In the paintings of Degas ballerinas are featured not only when they are on stage, but even at times less than the 'official'. In the painting ' by photographer Ballerina' (1875), from the collection Sukin , the dancer is in the studio of a photographer for a pose. The space is bounded from the floor , a mirror on top of which we see part of the frame, and a huge window behind the dancer shows us a Paris winter . The great charm of this painting is mainly from the large capacity of Degas to represent the bright light and cold outside . This light also floods the interior space , creating a feeling of coldness that is the setting for the elegant gesture of melancholy girl. DEGAS By photographer Ballerina

DEGAS Absinthe:

DEGAS Absinthe Absinthe (title also translated as The Absinthe Drinker or Glass of Absinthe) is a painting by Edgar Degas. Some original title translations are A sketch of a French Café, then Figures at Café, the title was finally changed in 1893 to L’Absinthe (the name the piece is known by today). The work is now in the permanent collection of the Musée d'Orsay in Paris. Painted in 1875-1876, it depicts two figures, a woman and man, who sit in the center and right of this painting, respectively. The man, wearing a hat, looks right, off the canvas, while the woman, dressed formally and also wearing a hat, stares vacantly downward. A glass filled with the eponymous greenish liquid sits before her. The painting is a representation of the increasing social isolation in Paris during its stage of rapid growth. The woman in the painting is the actress Ellen Andrée , the man Marcellin Desboutin , painter, printmaker, and, at the same time, celebrated bohemian character. The café where they are taking their refreshment is the Café de la Nouvelle- Athènes in Paris.

MONET Impression Sunrise:

MONET Impression Sunrise This is a prestigious painting, denigrated and derided the event, in which the artist is carried away by an unusual poetic inspiration. The absolute independence from the object, felt like such as volume, is the finest achievement of this period made by the artist. The chromatic tones which dominate the blue and pink, lying on the canvas in delicate glazes, mitigate - making it soft - the noise caused by movement of the water the day he is born. Impression, "Rising Sun"is a Marine who represents the rising sun in the port of Le Havre, and can be regarded as the symbolic framework of Impressionism. The work was exhibited at the first sign of the future Impressionist painters set up in 1874 at the studio of photographer Nadar . There is no trace of preparatory drawings, the color is given directly on the canvas with short, quick strokes. Objectivity is overcome by the desire to convey the feelings of Monet watching the sunrise, he would also take the impression of a moment The use of warm and cool colors juxtaposed in a suggestive way makes the effect of morning mist, through which the mantle is slowly dawning sun initially pale, with shades made with a few brushstrokes.

MONET Rouen Cathedral :

MONET Rouen Cathedral "Rouen Cathedral" (With the full light of day) is an oil painting on canvas created by Monet between 1892 and 1894 whose size is 100 to 65 cm. The work is preserved in Paris at the Musée Marmottan . In winter months between 1892 and 1893, Monet rented a large apartment in Rouen on the second floor in front of the west facade of the Cathedral. He patiently watched the changes of light and shadows at different times of day and different weather conditions. He made a number of preparatory drawings which he used to make as many as 50 paintings that he finished the following year in his studio in Giverny . Among these multiple canvases, there is precisely the Cathedral in full sunlight with predominantly warm colors like yellow, orange, blue and gray-purple. We sense that Monet would paint the cathedral but also really wanted to convey the feelings aroused in endless the viewer.

MANET Olympia:

MANET Olympia As he had done in Luncheon on the Grass, Manet reinterpreted another masterpiece of Renaissance art, the Venus of Urbino by Titian, in Olympia, a nude which also recalls the first pictures from the studio. The woman depicted is lean against the fashion of the time that he preferred a woman "in the flesh", which is considered more attractive. Olympia, depicted in a classic pose, also shocked at the way in which the subject seems to look the viewer in the eye (look of challenge), while the maid of color gives her a bouquet of flowers from an alleged suitor. But the main reason why the painting caused a sensation was the representation of a woman on the "job" as a prostitute (Olympia was in fact a very common name among prostitutes), an aspect emphasized by black satin ribbon around the neck of woman typical of the prostitutes of the time. Although the left hand covering her crotch, the reference to the traditional feminine virtue and modesty is ironic. The laying deliberately contemptuous, with his left hand pressed on his stomach, remembers some pornographic pictures of the time, with the development of photography, began to circulate clandestinely in fashionable salons. The painter painted the woman of color to create a more "normal", since the presence of a white woman would have given the area a shade too "clean, perfect", too light in fact. The figure in question also be inscribed in a triangle similar to that created by the bending of the sheet of the bed on the bottom left, where Olympia is the axis that separates mirror these figures.

MANET Le déjeuner sur l'herbe (The Luncheon on the Grass) :

MANET Le déjeuner sur l' herbe (The Luncheon on the Grass ) The painting was exhibited at the Salon des Refusés in 1863, after being rejected at the official Salon, causing a scandal. The reception was not, in fact, most of the myths: many critics considered the work vulgar, being female nude outdoors in the company of young middle-class. But it was not the only person to raise the indignation of observers also modern in style, in terms of color and composition, was harshly criticized Manet . The painting shows a breakfast in a forest, near Argenteuil, the Seine flowing. In the foreground there is a naked woman looks at the painter, conveniently located on a blue cloth, probably a part of the clothes that have been released. The model is Victorine Meurent , who posed for the figure of a woman in the background, which is intent on bathing in river. The two young men in the foreground, dressed elegantly, is Gustave Manet (brother of the painter) and the Dutch sculptor Ferdinand Leenhoff , a friend of Manet . In the lower left, there are the clothes of women and B from which the work takes its title. Although the plant is of classical composition, the use of modern dress threw scandal because it seemed to strip the artwork of its high content. The proportional difference between the woman in the background and the boat was moored to the right a inexperience considered by the artist: in fact the soft color contrasts and the use of aerial perspective in a modern form part the work in the masterpieces of the nineteenth century.

MANET A Bar at the Folies-Bergère:

MANET A Bar at the Folies-Bergère A Bar at the Folies-Bergère , painted and exhibited at the Paris Salon in 1882, was the last major work by French painter Édouard Manet. It depicts a scene in the Folies Bergère nightclub in Paris. The distant pair of green feet in the upper left-hand corner belong to a trapeze artist, who is performing above the restaurant's patrons. The beer which is depicted , Bass Pale Ale ( noted by the red triangle on the label ), would have catered not to the tastes of Parisians , but to those of English tourists , suggesting a British clientele. Manet has signed his name on the label of the bottle at the bottom left , combining the centuries-old practice of self-promotion in art with something more modern , bordering on the product placement concept of the late twentieth century . One interpretation of the painting has been that far from only being a seller of the wares shown on the counter , the woman is herself one of the wares for sale; conveying undertones of prostitution . The man in the background may be a potential client. But for all its specificity to time and place , it is worth noting that , should the background of this painting indeed be a reflection in a mirror on the wall behind the bar as suggested by some critics , the woman in the reflection would appear directly behind the image of the woman facing forward . Neither are the bottles reflected accurately or in like quantity for it to be a reflection . These details were criticized in the French press when the painting was shown . The assumption is faulty when one considers that the postures of the two women, however , are quite different and the presence of the man to whom the second woman speaks marks the depth of the subject area. Indeed many critics view the faults in the reflection to be fundamental to the painting as they show a double reality and meaning to the work. One interpretation is that the reflection is an interaction earlier in time that results in the subject 's expression in the painting 's present .

MANET The Cafe Concert:

MANET The Cafe Concert Manet's paintings of cafe scenes are observations of social life in 19th-century Paris . People are depicted drinking beer , listening to music , flirting , reading , or waiting . Many of these paintings were based on sketches executed on the spot. He often visited the Brasserie Reichshoffen on boulevard de Rochechourt , upon which he based At the Cafe in 1878. Several people are at the bar, and one woman confronts the viewer while others wait to be served . Such depictions represent the painted journal of a flâneur . These are painted in a style which is loose , referencing Hals and Velázquez, yet they capture the mood and feeling of Parisian night life. They are painted snapshots of bohemianism , urban working people, as well as some of the bourgeoisie . In Corner of a Cafe Concert, a man smokes while behind him a waitress serves drinks . In The Beer Drinkers a woman enjoys here beer in the company of a friend. In The Cafe Concert, shown at right, a sophisticated gentleman sits at a bar while a waitress stands resolutely in the background, sipping her drink. In The Waitress , a serving woman pauses for a moment behind a seated customer smoking a pipe, while a ballet dancer , with arms extended as she is about to turn, is on stage in the background.

RENOIR Le déjeuner des canotiers (Luncheon of the Boating Party):

RENOIR Le déjeuner des canotiers ( Luncheon of the Boating Party) The painting shows a breakfast at the restaurant La Fournaise in Chatou , a village on the Seine , normally frequented by rowers . The scene is set on the veranda of the restaurant , where fourteen people, all friends of the artist ( including his future wife , Aline Charigot , the woman with the dog), talking amiably with each other after eating together .The artist 's attention is focused much on the colors that make up the volumes and the prospect through the juxtaposition of warm and cold , light and dark, primary and complementary . The remains of the meal on the table appear as a complex still life: Renoir took the liberty of painting typically autumnal fruit that contrasts with the summer period in which the scene is set. In this painting Renoir has captured a great deal of light. The main focus of light is coming from the large opening in the balcony , beside the large singleted man in the hat . The singlets of both men in the foreground and the table-cloth all work together to reflect this light and send it through the whole composition .

RENOIR Bal au moulin de la Galette:

RENOIR Bal au moulin de la Galette Renoir captures the natural daily events with great enthusiasm and mastery. In this painting, a masterpiece of Impressionist painting, the artist is able to hit the target at a time of focusing Parisian life in creating a happy and carefree environment. The "Moulin de la Galette " was a local dance outside on the hill Montmartre in Paris, frequented by artists, students and girls willing to pose for painters. Because to the almost total absence of design, color has the task of making the motion, shadows and reflections. The setting seems almost surreal: the dancers appear to whirl in the air, the chandeliers hanging from the sky appear. The reality is altered, the colors overlap and intermingle, reflected in the objects. Light has a source point , everything is pure dynamism .

CEZANNE Les Joueurs de cartes:

CEZANNE Les Joueurs de cartes Two men in a tavern in the country are playing cards in front of a mirror . They are taken in profile , both supporting arms and hands holding the cards on the table , and paying them a look intense and focused . The image shows a patternstrongly geometric , which gives dignity to the two classic characters . The scene takes place in a warm , almost cozy , conferred the color range used in shades of red and brown ; exception to the use of white used to high light the basic elements of painting and significant : the shirt and the carts .

CEZANNE The poplars:

CEZANNE The poplars Cézanne was based more on the evocative power of line and brush stroke of color. The scene, corner of Castle Park Marcouvilles in the small village of Patis , is completely green curtain of trees that occupies about three-quarters of the picture . Poplars on the right appare as a closed wall , their function is summed up by blocking the brick wall that precludes any notion of depth , while on the left , the row of trees gradually loses a curve, leaving air space . Through the use of the line , the painter seems to have wanted to create the maximum contrast between the depth and flatness

SEURAT A Sunday Afternoon on the Island of La Grande Jatte:

SEURAT A Sunday Afternoon on the Island of La Grande Jatte Seurat 's famous painting A Sunday Afternoon on the Island of La Grande Jatte (Art Institute of Chicago) debuted at the 1886 Impressionist exhibition in Paris . He had begun the work two years earlier , completing more than fifty studies , including this one . Upon Pissarro 's advice , Seurat painted the final canvas with pigments that proved unstable and soon lost their luster . Thus the present study provides a vital record of the chromatic intensity he had hoped to achieve . Seurat 's style came to be known as Pointillism ( from the French word " point ," or "dot"), but he preferred the term divisionism , the principle of separating color into small touches placed side-by-side and meant to blend in the eye of the viewer . He felt that colors applied in this way, not mixed on a palette or muddied by overlapping , would retain their integrity and produce a more brilliant , harmonious result . The juxtaposed touches of color that are woven together here with short, patchy brushstrokes are more systematically applied , with discrete daubs of paint , in the final work

PISSARRO The swimmer in the woods:

PISSARRO The swimmer in the woods In this picture can see a young woman in act of washing on the bank of a river . The most important elements of this framework are: the beautiful young woman, the essence of the movement of its water, but above the light. The light seems to have made space between the branches to catch her , the woman in act of washing , performs an act that naturally , safe to be alone in the woods , but she is wrong.. With she there is the look of the painter . The painter who manages to penetrate inside of the landscape to capture the soul of woman and he menaged to bring everything on a blank canvas . Pissarro uses a secure and balanced composition , defined by a light model and makes it softer . In this picture there is the balance of the masses of color, the reviving them with quick brush stokes .

SISLEY Snow at Louveciennes:

SISLEY Snow at Louveciennes The theme of this painting is purely landscape. This landscape attracts many of the impressionists as it allows them to study the variations of light and play with different shades of colors. Sisley uses more muted tones of gray and blue. The ground is not uniformly white because in the ground there is reflection of the gray and the blue. The picture represents a country lane, surrounded by high walls that they indicated to country. In the street there is a woman, seen from behind,dressed in black that breaking the color balance. The sky is leaden,typical of winter days. Everything seems to be random in reality everything is honed to perfection. With this picture the painter has managed to make the most of the sadness and the desolate nature.