impresionismo y sorolla

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  • 1. IMPRESSIONISMa different way of seeing

2. Mi d d l e o f t h e 1 9 t h c e n t u r y , F r an c ed e s B e a u x - Ar t s d o mted i naT h e Ac a d mi eF r e n c h ar t , an dH i s t o r i c a l s u b j e c t s , r e l i g i o u s t h e me sti llued ( l an d s c ap e an d s p o r t r a i t s we r e v a l l i f e we r e n o t ) s hed T h e Ac a d mi e p r e f e r r e d c ar e f u l l y f i n i ne d rea l i s t i c wh e n e x a mi i ma g e s t h a t l o o k e dc l o s e l y.ve .C o l o r wa s s o m b e r an d c o n s e r v at i sed.T r a c e s o f b r u s h s t r o k e s we r e s u p p r e s 3. BEGINNINGS Some younger artists painted in a lighter and brightermanner. They were more interested in painting landscape andcontemporary life than in recreating historical or mythologicalscenes. Each year, the Salon du Paris jury rejected their works. A group of young realists, Claude Monet, Renoir, Sisley,and Bazille, Pissarro, Paul Czanne, and Armand Guillauminbecame friends and often painted together. They gathered at the Caf Guerbois, with the slightly olderEdouard Manet as a respected leader. 4. In 1863, the jury rejected Manets The Luncheon on the Grass 5. BEGINNINGS After Emperor Napoleon III saw the rejected works of 1863, he decreedthat the public be allowed to judge the work themselves, and the Salondes Refuss (Salon of the Refused) was organized. While many viewers came only to laugh, the Salon des Refuss drewattention to the existence of a new tendency in art and attracted morevisitors than the regular Salon. Critic and humorist Louis Leroy wrote a scathing review making wordplay with the title of Claude Monets painting Impression, Sunrisederisively titling his article The Exhibition of the ImpressionistsThe term quickly gained favour with the public. It was also accepted by the artists themselves 6. CHARACTERISTICS Violating the rules of academic painting:Freely brushed colors that took precedence over lines and contours.Realistic scenes of modern life.Often painted outdoors (a plen air). Previously, still lifes and portraits aswell as landscapes were usually painted in a studio.They portrayed overall visual effects instead of details.They used short "broken" brush strokes of mixed and pure unmixed colornot blended smoothly or shaded, as was customaryto achieve an effect ofintense color vibration.Pure impressionism avoids the use of black paint (they use thecomplementary colors to get greys)An art of immediacy and movement, of candid poses and compositions, ofthe play of light. 7. Claude Monet,Woman with a Parasol 8. CassattMary At the Theater 9. Claude Monet,graystacks 10. Sorolla 11. JOAQUN SOROLLA Born 1863 in Valencia, Spain He married Clotilde Garca del Castillo, whom he had first met in 1879, while working in her fathers photography studio. At 18 he went to Madrid to study the masters at museo del Prado. At 22 obtained a grant which enabled a four year term to study painting in Rome. A long sojourn to Paris in 1885 provided his first exposure to modern painting. 12. The Nereids 13. Caf en Paris 14. SOROLLA the artist His style is a special kind of impressionism: Luminismo (bright light) Besides Sundays, he would work six to nine hours a day, often standing inthe full glare of the sun dressed in a suit. The basis of Sorollas faultless technique was the drawings skills that he hadlearnt in his childhood. Sorolla painted very, very fast. "I could not paint at all if I had to paintslowly," he once said. "Every effect is so transient, it must be rapidlypainted. Most of his pictures were painted in from four to six mornings, many in oneor two. 15. SOROLLA the artist Sorolla did not have a set idea of how a painting would turn out before hestarted, preferring to build up the composition as he went along. In the studio Sorolla would sometimes use a palette the size of a grandpiano lid and 3 foot long brushes to allow him to stand back from hispainting. Brush work is loose and bold. At the first years he focused mainly on the production of large canvasesof orientalist, mythological, historical, and social subjects, for display insalons and international exhibitions in Madrid,Paris, Venice, Munich, Berlin, and Chicago. 16. Another Marguerite Gold medal at the National Exhibition in MadridFirst prize at the Chicago International Exhibition 17. The Mediterranean light 18. The net 19. The happy day 20. The fishing nets 21. The boat builders 22. Ruins of Buol 23. Javea, Alicante 24. The return from fishing Salon du Paris 25. And they Still say Fish is Expensive!1894 26. An even greater turning point in Sorollas career was marked by the paintingand exhibition of Sad Inheritance The subject was a depiction of crippled children bathing at the sea inValencia, under the supervision of a monk. The polio epidemic that struck some years earlier the land of Valencia ispresent, possibly for the first time in the history of painting, through theimage of the two affected children. The painting earned Sorolla his greatest official recognition, the Grand Prixand a medal of honor at the Universal Exhibition in Paris in 1900, and themedal of honor at the National Exhibition in Madrid in 1901. 27. At the same time, a series of preparatory oil sketches for SadInheritance were painted with the greatest luminosity and bravura, andforetold an increasing interest in shimmering light and of a medium deftlyhandled. 28. The beach 29. The exhibit at the Paris Universal Exposition of 1900 won him a medal ofhonour and his nomination as Knight of the Legion of Honour. Within the next few years Sorolla was honoured as a member of the Fine ArtAcademies of Paris, Lisbon, and Valencia, and as a Favourite Son of Valencia. In England met Archer Milton Huntington, who made him a member of TheHispanic Society of America in New York City, and invited him to exhibit therein 1909. Sorolla spent five months in America and painted more than twenty portraits. 30. Portraits Formal portraiture was not Sorollas genre of preference, because it tendedto restrict his creative appetites. But portrait commissions proved profitable, and the portrayal of his familywas irresistible. 31. Sometimes the influence of Velzquez wasuppermost. 32. Sometimes he wanted to compete with hisfriend John Singer Sargent 33. Mr. TaftPresident of theUSA 34. The Vision of Spain Archer M. Huntington in Paris and signed a contract to paint a series ofoils on life in Spain to be installed in the Hispanic Society of America. Would range from 12 to 14 feet in height, and total 227 feet in length(fourteen large panels in all). The major commission of his career, it would dominate the later years ofSorollas life. Sorolla painted all but one en plein air, and travelled to specific locales topaint them at each site painting models posed in local costume. He completed the final panel by the middle of 1919.