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IMPRESSIONISM, MODERNITYandTRADITIONNeo- Impressionism

Impressionist painting remains the most attractive period in the history of modern art andthe most appreciated by the public . Series of exhibitions, an abundant literature andrecord sales give evidence of today's extraordinary resonance of works of the Impressionistpainters, of which a number are engraved on our artistic conscience .

At their time, Impressionist works appeared to be so outrageously modern, that it tooktheir contemporaries more than thirty years to finally admit them - if not to like them -.

By the seaAuguste RENOIR, 1883

Metropolitan Museum of Art, NY

However, as the years go by, Impressionism,seems to us nowadays, much more to maintainclose links with tradition, and to constitute theesthetic achievement of an artistic creationrelated to realistic representation.

This link, a long time considered as the mostnormal thing in the world, to which impressionismhad given a new definition basedon "impression", will thereafter lose itscompulsory character with the evolution of finearts in XXth century.

Isn't the durable success of Impressionism due tothe fact that we are sensitive toits modernity and to its traditionalism?

Of course, Impressionism cannot be reduced tothis unique aspect, it is also a bias to paintcheerful reality, that of leisures and beauty of

nature, an endless search for natural light... in aword, a certain art of living which fits in withmany aspirations of our society.

This site in homage to the Impressionist painters attempts to present the history of theImpressionist Movement as well as the routes of each great painter whose name isindissociable of Impressionism.

Musics : DEBUSSY - Reverie (1890)

ImpressionistMap

HISTORY OFTHE IMPRESSIONIST

MOVEMENT

PREDECESSORS

Between 1820 and 1850, prestigious artistic movements would come up in French Painting.First the romantic revolution ( Gricault , Delacroix ), then the realistic movement (Courbet , Millet ) where naturalist painters of "The Barbizon School" ( Daubigny ,Rousseau , Troyon , Corot ) played a great role.
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Under the influence of british landscape painters such as Bonington, Constable,Turner, landscape painting would become a fully recognized genre in French Painting, ofwhich Corot will be the most famous representative.

Courbet , Corot and Delacroix, then represent the avant-garde of French Painting, andwill constitute the models which all the Impressionists will take as a starting point at their

beginnings.

Biography of Joseph Mallord William TURNER

The ERA : SECOND EMPIRE and ACADEMIC ART

The future Impressionists will grow in a country governed by authoritarian Napoleon III,whose cultural policy entirely centered on the greatness of the Empire was hostile to them.

The advent of the Second Empire (1852-70) was to mark a rupture in the artistichistory of the XIXth century in France, between official arton one side,and independent art on the other side.

The cultural policy of Napoleon encenses an insipid academic art (the so called"pompier" style) best represented by Meissonnier, Cabanel and Bouguereau, coveredwith honors by the political power and ruling over the Academy of Fine Arts, anddisparages a realistic art, often very pauper, illustrated by Courbet, Millet, Daubigny,Rousseau...

This rupture will appear on multiplelevels:

- political : most realistic or naturalistpainters are republican and disagree withthe Coup d'etat of Napoleon III.

- esthetic : they hate the greathistorical or mythological "machines" ofthe academic painters, and wish toexpress the simple beauties of nature,the life of their humblest contemporaries.

- sociological : the new painters comefrom the working classes and are notrelated any more to aristocracy

- geographical : they are in search ofsites protected from industrialization(Barbizon, Normandy)

Calvary on The Cte de Grce,Honfleur

Camille COROT, 1829-30Metropolitan Museum of Art, NY
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This policy will not prevent the belated fame ofCorot (1796-1875) from growing up. Corot,whose work comes to an end when Impressionist painters appear on the scene, is already amodern painter and can be seen as a precursor of Impressionists .

He excels in "plein-air"(outdoor) landscape painting, and his portraits are every bit as goodas his landscapes for they release so much expressiveness. The Impressionists and many

great painters after them will make of Corot a source of inspiration, and will dedicate him animmense admiration. Moreover they will try without success to obtain his participation intheir 1st group exhibition in 1874.

see Jean-Baptiste Camille COROT

A NEW CONTEMPORARY REALISTIC PAINTING

A new style of painting, that will take the name of Impressionism in the year 1874, willdevelop in France between 1860 and 1890. This evolution in painting history is not anisolated movement, for independent pictorial art will evolve everywhere in Europe in thesecond half of the XIXth century towards a much more modern painting that bettercorrespond to industrialprogress acceleration , and changes in the way of life .

Painters which will be named, depending on time and context, "Independents","Intransigents" or "Batignolles Group ", at last "Impressionnists", will be engaged in astruggle, begun with Manet in 1860, against an old and dusty workshop painting artwith established conventions that had become too restrictive for modern time, in order tohave their new realistic way of painting recognized.

This new painting will be the result of a series of reflexions and intentions which preceded it,that of Barbizon School's painters, and that of neo-impressionist painters of the MeetingsofSaint-Simon in Honfleur ( Boudin, Jongkind, Dubourg... ) that Monet attended as ayoung painter.

The new realism of the Impressionists definitively rejects the classical research of an idealof beauty and an eternal essence of things, and postulates instead as preponderantthe real vision compared to any learned conventional theory. The work that results fromthis vision is claimed to be relative : relative to the conditions under which the samescene can be observed (lights, skies, colors...), and relative to the painter himself.
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Beach at Sainte-Adresse

Claude MONET, 1867Art Institute of Chicago

Manet's formula : "I paint what I see, andnot what others like to see", summarizesthis claim of the artist to give his personalvision , that of his own subjectivity.

Their great concern about givingrepresentations translating the artist's realvision with its immediate nuances, willlead them to undertake multiple pictorialresearches and to forsake a number ofrules which then passed for immutablein painting : precise drawing andcontours, use of flat colors with attenuatedvariations, light and shade convention...

By doing so, the future Impressionists will introduce a number ofnew pictorial

processes : use of light tones, division of tones (an orange is represented by juxtapositionof two pure colors, red and yellow), form and volume resulting from colored brushworksinstead of drawing-contour, thickness of paint ...

The Impressionist movement is thus well at the origin of a great artistic revolution ,today still the object of studies and analysis, which will be put at the service of a newconception about the role and place of painting in society.

Forsaking historical or mythological subjects,Impressionist painters will deeplyrenew painting themes to better picture theircontemporary world .

They seek their subjects in the eternal world ofnature as well as in their daily world , eachpainter developing his own set of themes. Forthem, a subject is worth another , which countsbeing more their vision and their pictorialsearch to paint it.

The Impressionist step aiming at representing asurrounding reality which is relevant only atone moment and under given conditions ,the execution of a painting is fast , close tothe draft. It acts of a one moment painting, of afugitive impression.

Last point, the act to paint is asserted as apersonal pleasure , as well as an autonomousspiritual value . In this conception ofart forart , the artist is free of his personal creation.

A woman ironingEdgar DEGAS, 1869

Neue PinakothekMunich, Germany
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If Impressionist masters are now at the firmament of painting, it is important to recall towhich extent their painting was misunderstood and rejected at their time . Let us quotetheir contemporary Theodore Duret (Art critic 1838-1927) in his " History of theImpressionist painters " : "It should be said, in homage to these men, that contempt,opprobrium, poverty, never led them to deviate at any time of their way. They held on withtheir so detested way of painting, without considering, even for one moment, to modify it in

any way in order to be accepted of the public. They waited, during many years, all the timenecessary for the public to come to them and that a change of opinion occurred, supportedby their confidence in the principles and the value of their art . "

Over twenty-five years, from 1860 to 1886, in the century where photography wasinvented, Impressionist painting was going to leave strictly figurative representation, toinvent a new style of artistic representation which was going to mark the beginningofnonfigurative modern painting. One knows today how far that was going to lead.

One can consider that in 1886 , year of their last group show in Paris and of the firstexhibition of their works in the United States , successfully organized by art dealerDurand-Ruel , the Impressionists had achieved their goal and were at last recognized.

Impressionism will then quickly find a broad echo in Europe and North America.

MANET REREADS CLASSICS

Manet opened the way to Impressionism while rebelling, using the exact means oftraditional pictorial representation that he had so thoroughly learned , against academicconventions that had become so rigid that they prohibited painting contemporarysubjects.

Thus, after other works like " Theabsinthe drinker" - 1858, his" Luncheon on the grass "(1863) or his" Olympia " (1863) are classically writtensubjects reactualized with genius incontemporary world, with so realistictranspositions - in particular the nudes -that they would cause scandal and beviolently attacked by critics of that time.

But, even if with " The music at theTuileries " - 1862 , Manet already

prefigures Impressionist painting - of whichhe will be subject to influence in return -,he never truly belonged to theImpressionist movement, and appears onthe other hand as the one who did allow itsbirth.

Luncheon on the grassEdouard MANET, 1863Muse d'Orsay, Paris
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Indeed, because of the scandals he caused, and due to his immense talent as apainter, Manet quickly gained notoriety , and from 1864 will become the leader of aquarrel opposing the old ones and the modern ones. For the future Impressionists, he willbecome, after Corot and Courbet, an example of a new manner of painting, and a newguide, around whom they will naturally gather and, through whom, for some of them, theywill meet.

From 1865, famous writer Emile Zola, a school fellow of Czanne in Aix, will defend Manet'scause and his new painting in "The Event", and become the supporter and historian ofthe arising movement . Painting started an all-out revolution concerning not only paintingthemes, but also soon its pictorial means .

ART MARKET BEGINNINGS

While economic development changes society,painting is subject to a great liberal evolution,in the sense that it will no longer be, as in thepast, the fact of "court painters " working atthe service of some princes or temporal powerswhich order works to them, but more and morethe fact ofindependent artists selling theirpaintings to buyers .

Art will go from now on, as well as any other

product, into a market logic. In order to find apublic and purchasers, it was a necessity forthe artist to be able to exhibit his works, whichbecame the first and existential concern for thisnew generation of artists.

La GrenouillreAuguste RENOIR, 1869

Nationalmuseum, Stockholm

THE STATE-RUN "PARIS SALON" ART SHOW

If some art dealers, such as "Le Pre Martin" , Durand-Ruel and later Petit start playingan active role in art market, their shops or the exhibitions which they organize give quite

modest possibilities for the artists to get known compared to the large national windowwhich constitutes the "Official Salon " of Paris. It is there that successes and prices of artworks are decided.

In 1863 , the Salon becomes annual and a jury made up of members of the Academy ofFine Arts and preceeding medal-holders of the Salon selects works to be exhibited. For theonly year 1863, 4000 works were refused out of 5000 paintings presented by some 3000artists, which led to the creation of the " Salon des Refuss", inaugurated by Napoleon IIIin 1863.
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Surprisingly, most future Impressionists quickly obtained their first admission to the Salon,but will thereafter frequently be refused . If Pissarro, Bazille and Degas (continuously from1865 to 1870), were best accepted at the Salon, Czanne, will obtain , in spite of hisprotests, only one and single participation at the Salon in 1882!

If the Impressionist movement certainly is a group of painters having in common artistic

ideas and researches, it also is on a more basic level a movement of painters refused at theSalon and trying to exhibit their works.

A NEW GENERATION OF PAINTERS

Pissarro is the senior of the Impressionists. At the Academy Suisse (a workshop whichprovided models to young painters), he meets Monet in 1859,then Guillaumin and Czanne in 1861.

In 1862, Monet enrolled at the famous "cole des Beaux-Arts" (School ofFine Arts) wherehe will meet Renoir, Bazille and Sisley .

Through Manet , with whom he get acquainted as early as 1862, Degas will later meetMonet and Renoir in 1866 at the famous Caf Guerboislocated in the Batignolles Street,where the painters of the "Group of Batignolles" (as one designated the futureImpressionists at that time) used to meet.

These artists are all aged between 20 and 30 , and will weave between them multiple links.The strongest relationships will be those of Monet with his friends, Renoir, Bazille, Sisley,quartet which appears to be the founding members of the Impressionist group.

After they left the Fine Arts School, during the

years between the Salon des Refuss (1863)and the Franco-Prussian War of 1870, they willexperience alternately successes and failuresat the Salon , while at the same time anxiouslysearching their artistic personality. In the heartof their concerns:

to take on and develop the Realism ofCourbet and the painters of Barbizonpracticing outdoor painting, with aspecific research about light and coloreffects

to paint and develop new themes in artthat relate to new aspects of modernlife

to work out a new style of vision anda pictorial representation allowing tobetter account for movement andpermanent change of their time.

La grenouillreClaude MONET, 1869

Metropolitan Museum of ArtNew York
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By 1869 , Monet and Renoir as they were executing side by side a series of paintings in aleisure place on the Seine River called "La Grenouillre"frequented by Parisian middle-class people, would depict the agitation of this place with small fast brushworks, charactersat the state of draft, mobile reflections on water... thus rendering the "impression" whichemerges from this place rather than details. This word will give its name to the newmovement only five years later.

1874 - THE FIRST IMPRESSIONIST GROUP SHOW

After the war of 1870, and the civil war "The Commune" which followed in 1871, theImpressionists were going to continue to work with a great enthusiasm in the directionwhich they had taken. From now on, they were certain of their way of seeing , and,relieved from the yoke of the cultural policy of the Second Empire, they expected anincreased recognition and an increase in their sales.

They were going to be terribly disappointed, and knew still more failures at the

Salon than before war.

The young IIIth Republic is then unstable,and the deep shock undergone by frenchsociety with the Commune in 1871 willgenerate an intellectual climate of distrusttowards any innovation or artistic revolution.

Little by little the idea that they could just aswell do without the Salon get installed in theirmind, strengthened by art dealer Durand-

Ruel . December 27, 1873, they deposited thestatutes of a "Limited company of the artist-painters, sculptors".

The first show of the Impressionists tookplace in April 1874, Boulevard des Capucines,in an apartment lent by photographer FlixNadar , with 31 participants , the painting byMonet entitled "Impression, sunrise "(1872-73) giving its name to the Movement.

Impression, sunriseClaude MONET, 1873

Muse Marmottan, Paris

It counted 3500 visitors , against 400 000 for the Official Salon, and was held without

Manet for whom the Salon was to remain predominant.

The IMPRESSIONIST MOVEMENT and ITS PAINTERS
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Pissarro meets Monet at the AcademySuisse in 1859, then, in1861, Guillaumin and Czannewith whomhe was to work later at Pontoise

Monet , Renoir , Sisley , Bazille met at

the Fine Arts School in 1862, while studyingin Charles Gleyre' workshop, andconstituted the core of the movement.Bazille will be killed at Franco-Prussian warof 1870

Degas meets Manet in 1862 (" Portrait ofManet" - 1864 ), before meeting Monet andRenoir in 1866 at the caf Guerbois. He willhave as a follower, since 1877,Mary Cassatt (1845-1926)

From 1868, Manet will have as pupilsBerthe Morisot (1841-1895), who willbecome his sister-in-law by marrying hisbrother Eugen, and Eva Gonzales (1849-1883)

Caillebotte meets Degas, Monet andRenoir in 1873, and helps them to organizethe 1st exhibition of the Impressionistgroup in 1874, before becoming co-organizer and co-financial of most of thefollowing ones. Manet and Corot decline theinvitation to take part in this exhibition

Gauguin, at his beginnings as a painter,meets Pissarro in 1875 and becomes hispupil, then takes part from 1879 on in theImpressionist shows

Van Gogh will arrive in Paris in March1886, where he will discover and integrateImpressionism.

Catalog of the 4th Impressionist Show1879

The Impressionists do not have truly represented a school, such as, for instance, the Schoolof Barbizon, installed in the forest of Fontainebleau between 1830 and 1860.

Works of great painters known as Impressionists are actually diverse and quite differentbetween them. If there is indeed an " Impressionist " style - of which Pissarro, Monet andSisley are the most typical representatives -, each painter follows his own research, his ownindividual advance.


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No school thus which would have codified a single style of painting, but as many singularworks which will be worked out, for a time at least, within the "Impressionist Movement" .This Movement can be seen more like that of a "group of painters", with distinct artisticpersonalities, having in common their refusal of official painting and sharing theirresearches about a new manner of representing the real world. They will stick together intheir fight against exclusion of which they will be the victims, on behalf of the institutions -

Academy of Fine Arts and Jury of the Salon -, and of the majority of art critics.

This lack of recognition will lead them to organize, over a period of 12 years, from 1874 to1886 , their own exhibitions (8 on the whole), fact which constitutes the first andoutstanding originality of the movement.

One still discusses today to know whetherDegas, or Czanne who appears much more asa precursor of XXth century painting, are trueImpressionist painters... This question is not

new sinceMonet will write little time before hisdeath : "... I remain sorry to have been thecause of the name given to a group themajority of which did not have anythingImpressionist ".

The routes of the painters of the Impressionistgroup must thus well be consideredindividually and remain dominating.

Moreover, the history of the Impressionistmovement was relatively short, and some ofthe painters who accompanied this movementas of its beginning, such as Renoir, Czanne,Degas, Guillaumin , will evolve later on in adefinitely distinct way. This is even truer forGauguin and Van Gogh, two great meteorswhose road crossed for a short moment theImpressionist movement, .

The Sainte-Victoire Mountain,

seen from BellevuePaul CEZANNE, vers 1882-85Metropolitan Museum of Art

New York
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Air on a G String 791

Air On a G String (From Overture No3 In D Bwv1068) 544

Jesu, Joy Of Man's Desiring 525

Toccata in D minor 464Toccata and Fugue in D Minor 461

Aria 390363

Sheep May Safely Graze

Prelude No.1 Bwv 846 181

Adagio 165

Violin Concerto In a Minor Bwv1041: 1St Mvt. 152

Unaccompanied Cello Suite No. 1 in G Major, BWV 1007:Prlude

151

JESU, JOY OF MAN'S

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wrong with today's musicians and

performances if you're looking for a
http://play.last.fm/preview/117909321.mp3http://www.last.fm/music/Johann+Sebastian+Bach/_/Air+on+a+G+Stringhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Air+on+a+G+Stringhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Air+On+a+G+String+(From+Overture+No3+In+D+Bwv1068)http://www.last.fm/music/Johann+Sebastian+Bach/_/Air+On+a+G+String+(From+Overture+No3+In+D+Bwv1068)http://www.last.fm/music/Johann+Sebastian+Bach/_/Jesu,+Joy+Of+Man%27s+Desiringhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Jesu,+Joy+Of+Man%27s+Desiringhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Toccata+in+D+minorhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Toccata+in+D+minorhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Toccata+and+Fugue+in+D+Minorhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Toccata+and+Fugue+in+D+Minorhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Ariahttp://www.last.fm/music/Johann+Sebastian+Bach/_/Ariahttp://www.last.fm/music/Johann+Sebastian+Bach/_/Sheep+May+Safely+Grazehttp://www.last.fm/music/Johann+Sebastian+Bach/_/Sheep+May+Safely+Grazehttp://www.last.fm/music/Johann+Sebastian+Bach/_/Prelude+No.1+Bwv+846http://www.last.fm/music/Johann+Sebastian+Bach/_/Prelude+No.1+Bwv+846http://www.last.fm/music/Johann+Sebastian+Bach/_/Adagiohttp://www.last.fm/music/Johann+Sebastian+Bach/_/Adagiohttp://www.last.fm/music/Johann+Sebastian+Bach/_/Violin+Concerto+In+a+Minor+Bwv1041:+1St+Mvt.http://www.last.fm/music/Johann+Sebastian+Bach/_/Violin+Concerto+In+a+Minor+Bwv1041:+1St+Mvt.http://www.last.fm/music/Johann+Sebastian+Bach/_/Unaccompanied+Cello+Suite+No.+1+in+G+Major,+BWV+1007:+Pr%C3%A9ludehttp://www.last.fm/music/Johann+Sebastian+Bach/_/Unaccompanied+Cello+Suite+No.+1+in+G+Major,+BWV+1007:+Pr%C3%A9ludehttp://www.last.fm/music/Johann+Sebastian+Bach/_/Unaccompanied+Cello+Suite+No.+1+in+G+Major,+BWV+1007:+Pr%C3%A9ludehttp://www.last.fm/music/Johann+Sebastian+Bach/_/JESU,+JOY+OF+MAN%27S+DESIRING%27http://www.last.fm/music/Johann+Sebastian+Bach/_/JESU,+JOY+OF+MAN%27S+DESIRING%27http://www.last.fm/music/Johann+Sebastian+Bach/_/JESU,+JOY+OF+MAN%27S+DESIRING%27http://play.last.fm/preview/117018032.mp3http://play.last.fm/preview/117909321.mp3http://play.last.fm/preview/117018032.mp3http://play.last.fm/preview/117909321.mp3http://www.last.fm/music/Johann+Sebastian+Bach/_/JESU,+JOY+OF+MAN%27S+DESIRING%27http://www.last.fm/music/Johann+Sebastian+Bach/_/JESU,+JOY+OF+MAN%27S+DESIRING%27http://www.last.fm/music/Johann+Sebastian+Bach/_/Unaccompanied+Cello+Suite+No.+1+in+G+Major,+BWV+1007:+Pr%C3%A9ludehttp://www.last.fm/music/Johann+Sebastian+Bach/_/Unaccompanied+Cello+Suite+No.+1+in+G+Major,+BWV+1007:+Pr%C3%A9ludehttp://www.last.fm/music/Johann+Sebastian+Bach/_/Violin+Concerto+In+a+Minor+Bwv1041:+1St+Mvt.http://www.last.fm/music/Johann+Sebastian+Bach/_/Adagiohttp://www.last.fm/music/Johann+Sebastian+Bach/_/Prelude+No.1+Bwv+846http://www.last.fm/music/Johann+Sebastian+Bach/_/Sheep+May+Safely+Grazehttp://www.last.fm/music/Johann+Sebastian+Bach/_/Ariahttp://www.last.fm/music/Johann+Sebastian+Bach/_/Toccata+and+Fugue+in+D+Minorhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Toccata+in+D+minorhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Jesu,+Joy+Of+Man%27s+Desiringhttp://www.last.fm/music/Johann+Sebastian+Bach/_/Air+On+a+G+String+(From+Overture+No3+In+D+Bwv1068)http://www.last.fm/music/Johann+Sebastian+Bach/_/Air+on+a+G+String


12/12

commercialized and pops' oriented

experience.

impression is 1

Documents