Which of the Following Is a Characteristic of the Impressionist Art Movement?

Impressionism

Impressionism is a 19th century motion known for its paintings that aimed to depict the transience of lite, and to capture scenes of modern life and the natural globe in their ever-shifting weather condition.

Learning Objectives

Place the characteristics of Impressionism

Key Takeaways

Central Points

• The term " impressionism " is derived from the title of Claude Monet's painting, Impression, soleil levant ("Impression, Sunrise").
• Impressionist works characteristically portray overall visual effects instead of details, and use brusk, "broken" brush strokes of mixed and unmixed color to achieve an effect of intense color vibration.
• During the latter part of 1873, Monet, Renoir, Pissarro, and Sisley organized the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Cooperative and Anonymous Association of Painters, Sculptors, and Engravers") to exhibit their artworks independently to mixed critical response.
• The Impressionists exhibited together 8 times between 1874 and 1886. The individual artists achieved few financial rewards from the impressionist exhibitions, simply their art gradually won a degree of public acceptance and back up.
•  Impressionists typically painted scenes of modernistic life and oftentimes painted outdoors or en plein air.

Key Terms

• En Plein air: En plein air is a French expression that means "in the open air," and is particularly used to draw the human activity of painting outdoors, which is also called peinture sur le motif ("painting on the ground") in French.
• Vista: From Italian vista ("view, sight"). A distant view or prospect, specially one seen through an opening, artery, or passage.
• flâneur: A homo who observes society, usually in urban settings; a "people-watcher."

Impressionism is a 19th century art movement that was originated by a group of Paris-based artists, including Berthe Morisot, Claude Monet, August Renoir, Edgar Degas, Camille Pissarro, and Alfred Sisley, likewise as the American artist Mary Cassatt. These artists synthetic their pictures with freely brushed colors that took precedence over lines and contours. They typically painted scenes of modern life and oftentimes painted outdoors. The Impressionists found that they could capture the momentary and transient furnishings of sunlight by painting en plein air. However, many Impressionist paintings and prints, specially those produced by Morisot and Cassatt, are set up in domestic interiors. Typically, they portrayed overall visual effects instead of details, and used brusque, "broken" castor strokes of mixed and unmixed color to achieve an upshot of intense colour vibration.

London, Houses of Parliament. The Dominicus Shining through the Fog, Claude Monet, 1904: Monet is considered the near consistent and prolific practitioner of the Impressionist philosophy of expressing one's perceptions before nature.

Radicals in their time, early impressionists violated the rules of academic painting. In 19th century French republic, the Académie des Beaux-Arts ("Academy of Fine Arts") dominated French art. The Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued (landscape and nevertheless life were not), and the Académie preferred carefully finished images that looked realistic when examined closely. Colour was somber and bourgeois, and traces of brush strokes were suppressed, concealing the artist's personality, emotions, and working techniques.

Impressionist painters could not afford to look for France to accept their work, and then they established their own exhibition—apart from the annual salon organized by the Académie. During the latter part of 1873, Monet, Renoir, Pissarro, and Sisley organized the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Cooperative and Anonymous Association of Painters, Sculptors, and Engravers") to exhibit their artworks independently. In total, 30 artists participated in their starting time exhibition, held in Apr 1874 at the studio of the French photographer and caricaturist Nadar.

The disquisitional response was mixed. Critic and humorist Louis Leroy wrote a scathing review in the newspaper Le Charivari in which, making wordplay with the title of Claude Monet's Impression, soleil levant ("Impression, Sunrise"), he gave the artists the name by which they became known. The term "impressionists" quickly gained favor with the public. It was also accustomed past the artists themselves, even though they were a diverse group in manner and temperament, unified primarily by their spirit of independence and rebellion. They exhibited together eight times between 1874 and 1886. The private artists achieved few financial rewards from the impressionist exhibitions, but their art gradually won a degree of public acceptance and back up. Their dealer, Paul Durand-Ruel, played a major office in this as he kept their work before the public and bundled shows for them in London and New York.

Les régates à Moseley by Alfred Sisley, oil on canvas, 1874: Sisley was dedicated to painting mural en plein air and his work is known for capturing the transient furnishings of sunlight.

The Impressionists captured ordinary subjects, engaged in day to twenty-four hour period activities in both rural and urban settings. Impressionist artists relaxed the boundary between subject and background so that the effect of an impressionist painting often resembles a snapshot, a role of a larger reality captured as if by chance.

The development of Impressionism can be considered partly every bit a reaction past artists to the challenge presented past photography, which seemed to devalue the artist'south skill in reproducing reality. In spite of this, photography actually inspired artists to pursue other means of artistic expression, and rather than compete with photography to emulate reality, impressionists sought to express their perceptions of nature and mod city life.

Scenes from the bourgeois care-complimentary lifestyle, besides every bit from the world of entertainment, such as cafés, dance halls, and theaters were among their favorite subjects. In their genre scenes of contemporary life, these artists tried to arrest a moment in their fast-paced lives by pinpointing specific atmospheric conditions such as light flickering on water, moving clouds, or urban center lights falling over dancing couples. Their technique tried to capture what they saw.

Pontoise by Camille Pissarro, oil on canvas, 1867: Camille Pissarro (1830–1903) was a stylistic forerunner of Impressionism known for his landscapes and for capturing the daily reality of village life.

Manet

Édouard Manet, a French painter, was a pivotal figure in the transition from Realism to Impressionism.

Learning Objectives

Express why Édouard Manet is considered a pivotal figure in the transition from Realism to Impressionism

Key Takeaways

Key Points

• His early on masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, engendered great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that marker the genesis of modernistic art.
• His manner in this catamenia was characterized by loose castor strokes, simplification of details, and the suppression of transitional tones.
• Manet's works were seen every bit a challenge to the Renaissance works that inspired his paintings. Manet'due south work is considered "early modern," partially considering of the blackness outlining of figures, which draws attention to the surface of the motion-picture show plane and the textile quality of paint.

Primal Terms

• juxtaposition: The extra emphasis given to a comparison when the contrasted objects are shut together.
• Impressionism: A 19th century art motion that originated with a group of Paris-based artists. Impressionist painting characteristics include relatively minor, thin, notwithstanding visible brush strokes, open composition, emphasis on authentic depiction of light in its changing qualities (frequently accentuating the furnishings of the passage of fourth dimension), common, ordinary discipline matter, inclusion of movement as a crucial element of human perception and feel, and unusual visual angles.

Édouard Manet (1832–1883) was a French painter. One of the first 19th century artists to approach modern and postmodern-life subjects, he was a pivotal figure in the transition from Realism to Impressionism. His early on masterworks, The Luncheon on the Grass (Le déjeuner sur fifty'herbe) and Olympia, engendered great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modernistic art.

Manet opened a studio in 1856. His style in this period was characterized by loose brush strokes, simplification of details, and the suppression of transitional tones. Adopting the current mode of realism initiated by Gustave Courbet, he painted The Absinthe Drinker (1858–59) and other gimmicky subjects such as beggars, singers, Gypsies, people in cafés, and bullfights. Music in the Tuileries is an early case of Manet'southward painterly style. Inspired by Hals and Velázquez, it is a straw of his lifelong interest in the bailiwick of leisure.

Music in the Tuileries, 1862: One of Manet'south earliest works that demonstrates his interest in loose bush strokes and the leisurely social activities of 19th century Parisians.

The Paris Salon rejected The Dejeuner on the Grass for exhibition in 1863. Manet exhibited it at the Salon des Refusés (Salon of the Rejected) afterward in the year. The painting's juxtaposition of fully dressed men and a nude adult female was controversial, as was its abbreviated, sketch-similar handling, an innovation that distinguished Manet from Courbet. At the same time, this composition reveals Manet's study of the former Renaissance masters. 1 work cited by scholars every bit an of import precedent for Le déjeuner sur l'herbe is Giorgione's The Tempest.

The Tiffin on the Grass (Le déjeuner sur l'herbe) past Édouard Manet, 1863: The painting depicts the juxtaposition of a female nude and a scantily dressed female bather on a picnic with two fully dressed men in a rural setting. Rejected by the Salon jury of 1863, Manet seized the opportunity to showroom this and two other paintings in the 1863 Salon des Refusés, where the painting sparked public notoriety and controversy.

As he had in The Luncheon on the Grass, Manet again paraphrased a respected work by a Renaissance artist in his painting Olympia (1863), a nude portrayed in pose that was based on Titian'south Venus of Urbino (1538). Manet created Olympia in response to a challenge to requite the Salon a nude painting to brandish. His subsequently frank delineation of a self-assured prostitute was accepted by the Paris Salon in 1865, where it created a scandal.

Olympia by Édouard Manet, 1863: Manet's Olympia was a controversial painting at the time due to the confrontational gaze of the woman depicted and also to the fact that numerous details in the painting signify that she is a prostitute.

The painting was controversial partly because the nude is wearing some small items of clothing such every bit an orchid in her hair, a bracelet, a ribbon effectually her neck, and mule slippers, all of which accentuated her nakedness, sexuality, and comfortable courtesan lifestyle. The orchid, upswept pilus, blackness true cat, and bouquet of flowers were all recognized symbols of sexuality at the time. This modern Venus' trunk is sparse, counter to prevailing standards, and this lack of concrete idealism rankled viewers. Olympia'due south trunk also as her gaze is unabashedly confrontational. She defiantly looks out equally her servant offers flowers from ane of her male suitors. Although her paw rests on her leg, hiding her pubic area, the reference to traditional female person virtue is ironic: female modesty is notoriously absent in this piece of work. Every bit with Lunch on the Grass, the painting raised the issue of prostitution within gimmicky France and the roles of women within society.

The roughly painted style and photographic lighting in these 2 controversial works was seen by contemporaries as modern: specifically, as a challenge to the Renaissance works Manet copied or used every bit source textile. His work is considered "early modern," partially because of the black outlining of figures, which draws attention to the surface of the picture airplane and the cloth quality of paint.

Impressionist Painting

Impressionist painting broke from the traditions of the Academie, favoring everyday subject matter, exaggerated color, thick paint application, and an aim to capture the movement of life as opposed to staged scenes.

Learning Objectives

Describe the characteristics of Impressionist painting

Fundamental Takeaways

Key Points

• In the middle of the 19th century, the Académie des Beaux-Arts dominated French fine art, valuing historical subjects, religious themes, and portraits equally opposed to landscapes or still life.
• In the early 1860s Monet, Renoir, Sisley, and Bazille met while studying under the academic artist Charles Gleyre. They discovered that they shared an interest in painting mural and contemporary life rather than historical or mythological scenes
• Impressionist paintings tin can be characterized past their use of brusk, thick strokes of paint that chop-chop capture a bailiwick'due south essence rather than details.
• Impressionist paintings do not exploit the transparency of sparse pigment films (glazes), which earlier artists manipulated carefully to produce effects.
• Thematically, Impressionists works are focused on capturing the movement of life, or quick moments captured as if by snapshot.

Key Terms

• Académie des Beaux-Arts: The University was created in 1816 as a merger of the Académie de peinture et de sculpture (Academy of Painting and Sculpture, founded 1648), the Académie de musique (Academy of Music, founded in 1669) and the Académie d'architecture (Academy of Architecture, founded in 1671).

In the center of the 19th century, the Académie des Beaux-Arts dominated French art. The Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued; mural and still life were not. The Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this mode were made up of precise brush strokes carefully composite to hide the artist's hand in the work. Colour was restrained and ofttimes toned down further by the application of a gold varnish.

In the early 1860s, 4 young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille—met while studying under the academic artist Charles Gleyre. They discovered that they shared an involvement in painting landscape and contemporary life rather than historical or mythological scenes. Following a practice that had go increasingly popular past mid-century, they often ventured into the countryside together to paint in the open air, or en plein air, but not for the purpose of making sketches to be developed into carefully finished works in the studio, as was the usual custom. By painting in sunlight directly from nature, and making assuming employ of the vivid synthetic pigments that had get available since the beginning of the century, they began to develop a lighter and brighter manner of painting that extended further the Realism of Gustave Courbet and the Barbizon Schoolhouse.

Impression, soleil levant(Impression, Sunrise) by Claude Monet, 1872: This painting became the source of the movement'south name, given derisively by a critic but embraced by the artists and public.

Technique

Impressionist paintings tin be characterized by their use of short, thick strokes of paint that quickly capture a subject's essence rather than details. Colors are often applied side-by-side with as little mixing every bit possible, a technique that exploits the principle of simultaneous contrast to make the colour announced more than vivid to the viewer. Impressionist paintings do not exploit the transparency of thin paint films (glazes), which before artists manipulated carefully to produce furnishings. Additionally, the painting surface is typically opaque and the play of natural light is emphasized.

Thematically, the Impressionists focused on capturing the movement of life, or quick moments captured every bit if by snapshot. The representation of light and its changing qualities were of the utmost importance. Ordinary subject thing and unusual visual angles were also important elements of Impressionist works.

Haystack, (sunset) by Claude Monet, 1890–1891: Monet's Haystack exemplifies the typical traits of Impressionist works with its curt, quick lines making apply of many opaque colors side past side in order to advise the play of light at dusk.

Impressionist Sculpture

Modern sculpture is more often than not considered to accept begun with the piece of work of French sculptor Auguste Rodin.

Learning Objectives

Differentiate modern classicism in French sculpture from that of earlier classical sculpture

Key Takeaways

Key Points

• Typically, modernist artists were concerned with the representation of contemporary bug as opposed to m historical and allegorical themes previously favored in art. Rodin modeled circuitous, turbulent, deeply pocketed surfaces into dirt and many of his near notable sculptures clashed with the predominant effigy sculpture tradition, in which works were decorative, formulaic, or highly thematic. The spontaneity evident in his works associates him with the Impressionists, though he never identified every bit such.
• Rodin's most original work departed from traditional themes of mythology and allegory in favor of modeling the human torso with realism, and celebrating private character and physicality.
• It was the liberty and creativity with which Rodin used these practices, along with his more than open attitude toward bodily pose, sensual subject matter, and not-realistic surface, that marked the re-making of traditional 19th century sculptural techniques into the prototype for modern sculpture.
• Though his piece of work crossed many stylistic boundaries, and he did not identify every bit an Impressionist specifically, Degas is nonetheless regarded as 1 of the founders of Impressionism.
• The sculpture Little Dancer of Fourteen Years, by Edgar Degas c. 1881 was shown in the Impressionist Exhibition of 1881 and drew a great deal of controversy due to its departures from historical precedent, a key motive of the Impressionists.

Fundamental Terms

• Auguste Rodin: Auguste Rodin was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did non set out to rebel against the past. He was schooled traditionally, took a craftsman-similar approach to his piece of work, and desired academic recognition, although he was never accepted into Paris'southward foremost school of fine art.

French Sculpture

Modern classicism assorted in many ways with the classical sculpture of the 19th century, which was characterized by commitments to naturalism, the melodramatic, sentimentality, or a kind of stately grandiosity. Several different directions in the classical tradition were taken as the century turned, but the study of the live model and the post-Renaissance tradition was nonetheless cardinal. Modern classicism showed a lesser interest in naturalism and a greater interest in formal stylization. Greater attention was paid to the rhythms of volumes and spaces—also to the contrasting qualities of surface (open, closed, planar, broken, etc.)—while less attending was paid to storytelling and convincing details of anatomy or costume. Greater attention was given to psychological effect than to physical realism, and influences from earlier styles worldwide were used.

Modern sculpture, forth with all modern art, "arose as office of Western guild'due south effort to come to terms with the urban, industrial and secular society that emerged during the 19th century." Typically, modernist artists were concerned with the representation of contemporary issues as opposed to one thousand historical and allegorical themes previously favored in art.

Rodin's Influence

Modernistic sculpture is mostly considered to accept begun with the piece of work of French sculptor Auguste Rodin. Rodin, oftentimes considered a sculptural Impressionist, did not prepare out to rebel against creative traditions, yet, he incorporated novel ways of building his sculpture that defied classical categories and techniques. Specifically, Rodin modeled complex, turbulent, deeply pocketed surfaces into clay. While he never self-identified as an Impressionist, the vigorous, gestural modeling he employed in his works is frequently likened to the quick, gestural castor strokes aiming to capture a fleeting moment that was typical of the Impressionists. Rodin's near original piece of work departed from traditional themes of mythology and allegory, in favor of modeling the human body with intense realism, and celebrating private character and physicality.

Rodin was a naturalist, less concerned with monumental expression than with character and emotion. Parting with centuries of tradition, he turned away from the idealism of the Greeks and the decorative dazzler of the Bizarre and neo-Bizarre movements. His sculpture emphasized the individual and the concreteness of mankind, suggesting emotion through detailed, textured surfaces, and the interplay of light and shadow. To a greater degree than his contemporaries, Rodin believed that an individual's character was revealed by his physical features. Rodin's talent for surface modeling allowed him to permit every office of the body speak for the whole. The male's passion in The Osculation, for instance, is suggested by the grip of his toes on the rock, the rigidness of his back, and the differentiation of his hands. Rodin saw suffering and conflict as hallmarks of modern art. He states that "nothing, really, is more moving than the maddened brute, dying from unfulfilled desire and asking in vain for grace to quell its passion."

The Thinker by Auguste Rodin: Rodin's experiments with form, visible in the Thinker, launched modernistic abstract sculpture.

Rodin's major innovation was to capitalize on such multi-staged processes of 19th century sculpture and their reliance on plaster casting. Since clay deteriorates rapidly if not kept wet or fired into a terra-cotta, sculptors used plaster casts as a means of securing the composition they would make out of the fugitive material that is dirt. This was common exercise among Rodin's contemporaries: sculptors would exhibit plaster casts with the hopes that they would be deputed to have the works fabricated in a more permanent material. Rodin, however, would have multiple plasters made and treat them as the raw cloth of sculpture, recombining their parts and figures into new compositions and new names. As Rodin's practice developed into the 1890s, he became more and more radical in his pursuit of fragmentation, the combination of figures at different scales, and the making of new compositions from his earlier work.

The Walking Human

A prime example of his radical practices is The Walking Man (1899–1900). It is equanimous of two sculptures from the 1870s that Rodin found in his studio — a broken and damaged torso that had fallen into fail and the lower extremities of a statuette version of his 1878 St. John the Baptist Preaching that he was having re-sculpted at a reduced calibration. Without finessing the join between upper and lower, between torso and legs, Rodin created a work that many sculptors at the fourth dimension, and afterwards, have seen as one of his strongest and most singular works. This is despite the fact that the object conveys two different styles, exhibits two different attitudes toward finish, and lacks any endeavour to hide the arbitrary fusion of these ii components. It was the freedom and creativity with which Rodin used these practices—along with his activation of the surfaces of sculptures through traces of his own touch—that marked Rodin's re-making of traditional 19th century sculptural techniques into the epitome for modern sculpture.

The Walking Man: The Walking Man is composed of two fragments of sculpture that Rodin combined into a single work without masking the fusion of these disparate forms.

Edgar Degas

Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is specially identified with the discipline of trip the light fantastic; more than half of his works depict dancers. He is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a Realist.

During his life, public reception of Degas's work ranged from adoration to contempt. As a promising artist in the conventional style, Degas had a number of paintings accepted in the Salon between 1865 and 1870. He soon joined forces with the Impressionists, however, and rejected the rigid rules, judgments, and elitism of the Salon—just as the Salon and general public initially rejected the experimentalism of the Impressionists.

Degas' work was controversial, merely was generally admired for its draftsmanship. His La Petite Danseuse de Quatorze Ans, or Petty Dancer of 14 Years, which he displayed at the 6th Impressionist Exhibition in 1881, was probably his most controversial piece; some critics decried what they idea its "appalling ugliness" while others saw in it a "blossoming." The sculpture is 2-thirds life size and was originally sculpted in wax, an unusual choice of medium for the time. It is dressed in a real bodice, tutu and ballet slippers and has a wig of real pilus. All but a hair ribbon and the tutu are covered in wax. The 28 statuary repetitions that appear in museums and galleries effectually the world today were bandage after Degas' expiry. The tutus worn past the bronzes vary from museum to museum.

Little Dancer of Xiv Years by Edgar Degas, c. 1881: The controversial sculpture that Degas showed in the Impressionist Exhibition of 1881 is noted for its experimentalism and breaks with tradition.

Recognized equally an important artist in his lifetime, Degas is at present considered 1 of the founders of Impressionism. Though his piece of work crossed many stylistic boundaries, his involvement with the other major figures of Impressionism and their exhibitions, his dynamic paintings and sketches of everyday life and activities, and his assuming color experiments served to finally necktie him to the Impressionist move as one of its greatest artists.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/impressionism/

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