Impressionism

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Impressionism
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Art History Timeline

• RENAISSANCE 1400 - 1800 AD (CE)Renaissance
  Italy 1400 - 1600 ADRenaissance Europe 1500 -
  1600 ADBaroque 1600 - 1700 ADRococo 1700 - 1750
  ADPRE-MODERN 1800 - 1880 AD (CE)Neo-Classicism
  1750 - 1880 ADRomanticism 1800 - 1880
  ADRealism 1830's - 1850's ADImpressionism
  1870's - 1890's ADMODERNISM 1880 - 1945 AD
  (CE)Post Impressionism 1880 - 1900
  ADExpressionism 1900 - 1920 AD

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Italian Renaissance (1400-1600)

• In the arts and sciences as well as society and
  government, Italy was the major catalyst for
  progress during the Renaissance the rich period
  of development that occurred in Europe at the end
  of the Middle Ages. Because of the number of
  different fields in which it applied,
  Renaissance'' is a word with many layers of
  meaning. Accordingly, Renaissance painting cannot
  signify any one common or clearly definable
  style. As Gothic paintinghad been shaped by the
  feudal societies of the Middle Ages, with its
  roots in the Romanesque and Byzantine traditions,
  Renaissance art was born out of a new, rapidly
  evolving civilization. It marked the point of
  departure from the medieval to the modern world
  and, as such, laid the foundations for modern
  Western values and society.

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Boticelli
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Leonardo da Vinci The Last Supper
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Titian
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Titian Sacred and Profane Love, 1513
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Renaissance art of the Low Countries

• Renaissance artists painted a wide variety of
  themes. Religious altarpieces, fresco cycles, and
  small works for private devotion were very
  popular. The rebirth of classical antiquity and
  Renaissance humanism also resulted in many
  Mythological and history paintings. Ovidian
  stories, for example, were very popular.
  Decorative ornament, often used in painted
  architectural elements, was especially influenced
  by classical Roman motifs.

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Jan van Eyck Ghent Altarpiece (1432)
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The Garden of Earthly Delights by Hieronymus Bosch
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French Renaissance
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Portrait of Charles VII of France by Jean Fouquet
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Diane de Poitiers by François Clouet (1571)
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Baroque

• Baroque period, era in the history of the Western
  arts roughly coinciding with the 17th century.
  Its earliest manifestations, which occurred in
  Italy, date from the latter decades of the 16th
  century, while in some regions, notably Germany
  and colonial South America, certain of its
  culminating achievements did not occur until the
  18th century. The work that distinguishes the
  Baroque period is stylistically complex, even
  contradictory. In general, however, the desire to
  evoke emotional states by appealing to the
  senses, often in dramatic ways, underlies its
  manifestations. Some of the qualities most
  frequently associated with the Baroque are
  grandeur, sensuous richness, drama, vitality,
  movement, tension, emotional exuberance, and a
  tendency to blur distinctions between the various
  arts.

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The Adoration of the Magi, a 1624 oil-on-canvas
painting by Peter Paul Reubens
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Federico Barocci, Aeneas' Flight from Troy, 1598
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Rococo

• KEY DATES 1700sThroughout the 18th century in
  France, a new wealthy and influential
  middle-class was beginning to rise, even though
  the royalty and nobility continued to be patrons
  of the arts. Upon the death of Louis XIV and the
  abandonment of Versailles, the Paris high society
  became the purveyors of style. This style,
  primarily used in interior decoration, came to be
  called Rococo. The term Rococo was derived from
  the French word "rocaille", which means pebbles
  and refers to the stones and shells use to
  decorate the interiors of caves. Therefore, shell
  forms became the principal motif in Rococo. The
  society women competed for the best and most
  elaborate decorations for their houses. Hence the
  Rococo style was highly dominated by the feminine
  taste and influence. Francois Boucher was the
  18th century painter and engraver whose works are
  regarded as the perfect expression of French
  taste in the Rococo period. Trained by his father
  who was a lace designer, Boucher won fame with
  his sensuous and light-hearted mythological
  paintings and landscapes. He executed important
  works for both the Queen of France and Mme. de
  Pompadour, Louis XV's mistress, who was
  considered the most powerful woman in France at
  the time. Boucher was Mme. de Pompadour's
  favorite artist and was commissioned by her for
  numerous paintings and decorations. Boucher also
  became the principal designer for the royal
  porcelain factory and the director of the
  Gobelins tapestry factory. The Vulcan Presenting
  Venus with Arms for Aeneas is a template for a
  tapestry made by this factory. 
• Characterized by elegant and refined yet playful
  subject matters, Boucher's style became the
  epitome of the court of Louis XV. His style
  consisted of delicate colors and gentle forms
  painted within a frivolous subject matter. His
  works typically utilized delightful and
  decorative designs to illustrate graceful stories
  with Arcadian shepherds, goddesses and cupids
  playing against a pink and blue sky. These works
  mirrored the frolicsome, artificial and
  ornamented decadence of the French aristocracy of
  the time.The Rococo is sometimes considered a
  final phase of the Baroque period.

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The Swing (French L'escarpolette), 1767, Jean
Honore Fragonard
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Neo-classicism

• KEY DATES 1750-1880A nineteenth century French
  art style and movement that originated as a
  reaction to the Baroque. It sought to revive the
  ideals of ancient Greek and Roman art. Neoclassic
  artists used classical forms to express their
  ideas about courage, sacrifice, and love of
  country. David and Canova are examples of
  neo-classicists.

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Jacques Louis David - Napoleon at the
Saint-Bernard Pass (1801)
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Death of Marat
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Thomas Gainesborough
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Romanticism

• KEY DATES 1800-1880Romanticism was basically a
  reaction against Neoclassicism, it is a
  deeply-felt style which is individualistic,
  beautiful, exotic, and emotionally wrought.
  Although Romanticism and Neoclassicism were
  philosophically opposed, they were the dominant
  European styles for generations, and many artists
  were affected to a greater or lesser degree by
  both. Artists might work in both styles at
  different times or even mix the styles, creating
  an intellectually Romantic work using a
  Neoclassical visual style, for example.
• Great artists closely associated with Romanticism
  include J.M.W. Turner, Caspar David Friedrich,
  John Constable, and William Blake.In the United
  States, the leading Romantic movement was the
  Hudson River School of dramatic landscape
  painting.Obvious successors of Romanticism
  include the Pre-Raphaelite movement and the
  Symbolists. But Impressionism, and through it
  almost all of 20th century art, is also firmly
  rooted in the Romantic tradition. 

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The Lady of Shallot 1888, Alfred Lord Tennyson
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Caspar David Friedrich, Wanderer above the Sea of
Fog, 1818
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Realism
Realism, also known as the Realist school, was a
mid-nineteenth century art movement and style in
which artists discarded the formulas of
Neoclassicism and the theatrical drama of
Romanticism to paint familiar scenes and events
as they actually looked. Typically it involved
some sort of sociopolitical or moral message, in
the depiction of ugly or commonplace subjects.
Daumier, Millet and Courbet were realists.
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Gustave Courbet -The Stonebreakers, 1849
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Jean-Francois Millet - The Gleaners 1857
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• Impressionism was a 19th century art movement
  that began as a loose association of Paris-based
  artists whose independent exhibiyions 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, soleil levant),
  which provoked the critic Louis Leroy to coin the
  term in a satiric review.
• Characteristics of Impressionist paintings
  include visible brush strokes, open composition ,
  emphasis on 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

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• Radicals in their time, early Impressionists
  broke the rules of academic painting. They began
  by giving colours, freely brushed, primacy over
  line, drawing inspiration from the work of
  painters such as Eugene Delacroix. They also took
  the act of painting out of the studio and into
  the modern world. Previously, still lifes and
  prtraits as well as landscapes had usually been
  painted indoors. The Impressionists found that
  they could capture the momentary and transient
  effects of sunlight by painting en plein air.
  Painting realistic scenes of modern life, they
  portrayed overall visual effects instead of
  details. They used short "broken" brush strokes
  of mixed and pure unmixed colour, not smoothly
  blended or shaded, as was customary, in order to
  achieve the effect of intense colour vibration.

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• In an atmosphere of change as Emperor Napoleon
  III rebuilt Paris and waged war, the Académie des
  Beaux-Arts dominated the French art scene in the
  middle of the 19th century. The Académie was the
  upholder of traditional standards for French
  painting, both in content and style. Historical
  subjects, religious themes, and portraits were
  valued (landscape and still life were not), and
  the Académie preferred carefully finished images
  which mirrored reality when examined closely.
  Colour was somber and conservative, and the
  traces of brush strokes were suppressed,
  concealing the artist's personality, emotions,
  and working techniques.

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• The Académie held an annual, juried art show, the
  Salon de Paris, and artists whose work displayed
  in the show won prizes, garnered commissions, and
  enhanced their prestige. The standards of the
  juries reflected the values of the Académie,
  represented by the highly polished works of such
  artists as Jean-Léon Gérôme and Alexandre
  Cabanel. Some younger artists painted in a
  lighter and brighter manner than painters of the
  preceding generation, extending further the
  realism of Gustave Courbet and the Barbizon
  school. They were more interested in painting
  landscape and contemporary life than in
  recreating scenes from history. Each year, they
  submitted their art to the Salon, only to see the
  juries reject their best efforts in favour of
  trivial works by artists working in the approved
  style.

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Jean-Leon Jerome
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Alexandre Cabanel
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A core group of young realists, Claude Monet,
Pierre-Auguste Renoir, Alfred Sisley, and
Frédéric Bazille, who had studied under Charles
Gleyre, became friends and often painted
together. They soon were joined by Camille
Pissarro, Paul Cézanne, and Armand Guillaumin
In 1863, the jury rejected The Luncheon on the
Grass (Le déjeuner sur l'herbe) by Édouard Manet
primarily because it depicted a nude woman with
two clothed men at a picnic. While nudes were
routinely accepted by the Salon when featured in
historical and allegorical paintings, the jury
condemned Manet for placing a realistic nude in a
contemporary setting.The jury's sharply worded
rejection of Manet's painting, as well as the
unusually large number of rejected works that
year, set off a firestorm among French artists.
Manet was admired by Monet and his friends, and
led the discussions at Café Guerbois where the
group of artists frequently met.
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Édouard Manet - Le Déjeuner sur l'herbe (1863)
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• After seeing the rejected works in 1863, Emperor
  Napoleon III decreed that the public be allowed
  to judge the work themselves, and the Salon des
  Refusés (Salon of the Refused) was organized.
  While many viewers came only to laugh, the Salon
  des Refusés drew attention to the existence of a
  new tendency in art and attracted more visitors
  than the regular Salon.

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• Artists' petitions requesting a new Salon des
  Refusés in 1867, and again in 1872, were denied.
  In 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") for the purpose of exhibiting their
  artworks independently. Members of the
  association, which soon included Cézanne, Berthe
  Morisot, and Edgar Degas, were expected to
  forswear participation in the Salon. The
  organizers invited a number of other progressive
  artists to join them in their inaugural
  exhibition, including the older Eugène Boudin,
  whose example had first persuaded Monet to take
  up plein air painting years before.5 Another
  painter who greatly influenced Monet and his
  friends, Johan Jongkind, declined to participate,
  as did Manet. In total, thirty artists
  participated in their first exhibition, held in
  April 1874 at the studio of the photographer
  Nadar.

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• The critical response was mixed, with Monet and
  Cézanne bearing the harshest attacks. Critic and
  humorist Louis Leroy wrote a scathing review in
  the Le Charivari newspaper in which, making
  wordplay with the title of Claude Monet's
  Impression, Sunrise (Impression, soleil levant),
  he gave the artists the name by which they would
  become known. Derisively titling his article The
  Exhibition of the Impressionists, Leroy declared
  that Monet's painting was at most, a sketch, and
  could hardly be termed a finished work.
• He wrote, in the form of a dialog between
  viewers,
• ImpressionI was certain of it. I was just
  telling myself that, since I was impressed, there
  had to be some impression in it and what
  freedom, what ease of workmanship! Wallpaper in
  its embryonic state is more finished than that
  seascape

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• The term "Impressionists" quickly gained favor
  with the public. It was also accepted by the
  artists themselves, even though they were a
  diverse group in style and temperament, unified
  primarily by their spirit of independence and
  rebellion. They exhibited togetheralbeit with
  shifting membershipeight times between 1874 and
  1886.

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• The individual artists saw few financial rewards
  from the Impressionist exhibitions, but their art
  gradually won a degree of public acceptance and
  support. Their dealer, Durand-Ruel, played a
  major role in this as he kept their work before
  the public and arranged shows for them in London
  and New York. Although Sisley would die in
  poverty in 1899, Renoir had a great Salon success
  in 1879. Financial security came to Monet in the
  early 1880s and to Pissarro by the early 1890s.
  By this time the methods of Impressionist
  painting, in a diluted form, had become
  commonplace in Salon art.