1. IMPRESSIONISM
SECTION 2 - EUROPEAN ART

2. IMPRESSIONISM WHAT DO YOU NEED TO KNOW?
Background Information
When the movement was active
Who were the Impressionists
Where the movement was active
How Impressionism came about
What inspired the Impressionists artistically
Principles of Impressionism

3. IMPRESSIONISM WHEN THE MOVEMENT WAS ACTIVE
19th century
Began in 1860s in Paris, France
Franco-Prussian war
First exhibition on 15 April 1874
Final group exhibition in 1886
Just over three decades

4. IMPRESSIONISM WHO WERE THE IMPRESSIONISTS
A group of artists who worked together in Paris in the 1860s
Often met at Café Geurbois to discuss art and to air their opinions
All worked on their own styles and subject matter but agreed on a number of points
Refused entry by ‘The Salon’

5. IMPRESSIONISM THE FRENCH ART ESTABLISHMENT

6. Impression: Sunrise, Claude Monet, 1872.
Journalist Louis Leroy critically coined the name ‘Impressionists’ after their first exhibition in 1874.

7. IMPRESSIONISM WHO WERE THE IMPRESSIONISTS
Edouard Manet (Father of Impressionism)
Claude Monet
Camille Pissarro
Edgar Degas
Auguste Renoir
Berthe Morisot

8. IMPRESSIONISM HOW IMPRESSIONISM CAME ABOUT
Social, economic and technological changes e.g. Industrial Revolution, Invention of the camera, Bourgeoisie (merchant class).
Changes to artistic life:
Rejection of, and by, ‘The Salon’ (annual exhibition held in the Lourve’s salon carré)
Rejection of the ‘formulas’ imposed on artists by the Academy of Fine Arts.

9. IMPRESSIONISM WHAT INSPIRED IMPRESSIONISTS
French Influences:
- The Brabizon School (1840s-1850s) - Plein Air
- Realism (1800 to 1899)
- Édouard Manet
English Influences: Romanticism:
- William Blake ( )
- John Constable ( )
- J.M.W. Turner ( )

10. IMPRESSIONISM WHAT INSPIRED IMPRESSIONISTS
International Influences: Oriental Art:
- Japanese prints by Hokusai and Hiroshige
- simplified forms
- clearly defined outlines
- flat areas of colour
- unusual perspective

11. IMPRESSIONISM WHAT INSPIRED IMPRESSIONISTS
English Influences
Romanticism
- major at the beginning of 19th century
- emotional and dramatic subject matter
- English landscape painting
- Individual style of expression
William Blake ( ) page 131
- artist, philosopher and poet
- unique style expresses imagery of his writings

12. IMPRESSIONISM WHAT INSPIRED IMPRESSIONISTS
English Influences
John Constable ( ) page 131
- Landscape painter. Suffolk, England
- Painted moving skies and changing light
J.M.W. Turner ( ) page 132
- Painted changing light and atmosphere
- Mixture of imagination and memory
- Gone beyond Impressionism before it began

13. IMPRESSIONISM PRINCIPLES OF IMPRESSIONISM
Painting out of doors - en plein air
Working from observation
Depict real life. Subjects are not historical or emotional
Capture the fleeting moment
Capture the changing effects of light and atmosphere
Brushwork should be free and descriptive
Pure colours are applied directly and mixed on the canvas

14. EDOUARD MANET WHAT DO YOU NEED TO KNOW?
Background Information
Role in Impressionism
3 Paintings - to draw and discuss
Style and Visual Qualities
Subject matter
Medium

15. IMPRESSIONISM EDOUARD MANET
( )
Parisian upper-class
Wealthy
Aristocratic mother. Senior civil servant father.
Attempted entry to Navy twice.

16. IMPRESSIONISM EDOUARD MANET
Education
Trained for 6 years (1850-6) in studio of Thomas Couture at the École des Beaux Arts
Spent time copying old masters in the Lourve
Made study tours of Holland, Austria, Italy and Spain copying old masters
Inspired by Velázquez, Goya, Courbet and Delacroix

17. IMPRESSIONISM EDOUARD MANET
Role in Impressionism
Father of Impressionism
Never described himself as an ‘Impressionist’
Wanted to be accepted by art establishment
Mixed success at the Salon. In 1863 all 3 works were rejected

18. IMPRESSIONISM EDOUARD MANET
Why was he the ‘father of Impressionism’?
Modern, contemporary subjects - people
Often bright, glowing colours
Juxtaposing colours in flat, simplified patches rather than shaded transitions
Exhibited with the Impressionists. Influenced by the Impressionists, especially Monet and Morisot
Compositions resembled a camera snapshot
"I paint what I see, and not what others like to see"

19. IMPRESSIONISM EDOUARD MANET
He didn’t describe himself as an ‘Impressionist’!
Mixed paints on the palette
Flat style of painting
Used clean contours
Greys and blacks
Didn’t want to be seen as a representative for Impressionism
Wanted to exhibit at the salon

20. ‘Déjeuner sur L’Herbe’, 1863, by Edouard Manet

21. ‘Déjeuner sur L’Herbe’, 1863, by Edouard Manet
A scene of the Parisian bohemian life of little accordance with the puritan morals of that time
A pastoral scene, by a river, a young woman is shown naked after a bath, her clothes posed beside her, between two men in costume sitting for a picnic.

22. ‘Déjeuner sur L’Herbe’, 1863, by Edouard Manet
Salon des Refusés, 1863
Inspired by Titan’s Concert Champêtre
Immoral, scandelous
Contemporary men with questionable women
Nude used to lighten and clothing to darken

23. ‘Olympia’, 1865, by Edouard Manet

24. ‘Olympia’, 1865, by Edouard Manet
Small items of clothing such as an orchid in her hair, a bracelet, a ribbon around her neck, and mule slippers, all accentuate her nakedness, comfortable courtesan lifestyle and sexuality.
The orchid, upswept hair, black cat bouquet of flowers were all symbols of sexuality at the time.
This modern Venus' body is thin, counter to prevailing standards
The painting's lack of idealism angered viewers

25. ‘Olympia’, 1865, by Edouard Manet
Flatness of Olympia is inspired by Japanese wood block art.
Her flatness serves to make her more human and less voluptuous.
Her body as well as her gaze is unabashedly confrontational. She defiantly looks out as her servant offers flowers from one of her male suitors.
Accepted by the Paris Salon in At the same time, his notoriety translated to popularity in the French avant-garde community.

26. ‘Olympia’, 1865, by Edouard Manet
Inspired by Titan’s Venus of Urbino
Outrageous ‘not a goddess, a prostitute’
The alert black cat at the foot of the bed contrasts the sleeping dog in Titian's portrayal
Nude used to lighten and black female servant to darken

27. ‘A Bar at the Folies-Bergére’, 1882, by Edouard Manet

28. Exhibited at the Salon in 1882 The last major work by Manet
‘A Bar at the Folies-Bergére’, 1882, by Edouard Manet
Exhibited at the Salon in 1882
The last major work by Manet
Depicts a scene in the Folies Bergéres nightclub in Paris
The barmaid’s face is expressionless, tired and detached
The mirror reflects a buzzing crowd of people
Isolation in modern society is a possible theme

29. CLAUDE MONET WHAT DO YOU NEED TO KNOW?
Background Information
Role in Impressionism
3 Paintings - to draw and discuss
- Style and Visual Qualities
- Subject matter
- Medium

30. IMPRESSIONISM CLAUDE MONET
Born Paris, grew up in French port Le Harve
Cartoonist in teenage years
Artist Eugéne Boudin encouraged plein air painting

31. IMPRESSIONISM CLAUDE MONET
Education
Atelier Suisse, Paris. Met Pissarro.
Studio of Swiss Painter Marc Gleyre. Met Bazille, Sisley and Renoir.

32. IMPRESSIONISM CLAUDE MONET
Subject Matter
Throughout his career, Monet consistently depicted the landscape and leisure activities of Paris and its environs as well as the Normandy coast.
Monet found subjects in his immediate surroundings, painting the people and places he knew best. His first wife, Camille,and his second wife, Alice, frequently served as models.
The fleeting moment in time.

33. IMPRESSIONISM CLAUDE MONET
His Influences
The Barbizon artists: painted preliminary sketches en plein air. Monet often worked directly on large- scale canvases out of doors, then reworked and completed them in his studio.
Japanese woodblock prints: Monet's asymmetrical compositions emphasized the 2D canvas by eliminating linear perspective and 3D modeling.
Other artists: Corot, Turner, Constable.
Other Impressionists: Pissarro, Renoir.

34. IMPRESSIONISM CLAUDE MONET
His Style
Monet rejected European traditions governing composition, colour, and perspective.
Brought a vibrant brightness to his works by applying small brush strokes of vivid colours straight from the paint tube and mixing them on the canvas.
Added a range of colours to his shadows.
Prepared canvases with light-coloured primers instead of dark grounds used in traditional paintings.

35. ‘Bathers at La Grenouillére, 1869, by Claude Monet.

36. ‘Women in the Garden’, 1866-9, by Claude Monet.

37. ‘Le Pont d’Argenteuil’, 1874, by Claude Monet.

38. Monet’s Series Paintings
Monet's motif of producing and exhibiting series’ of paintings began in 1889.
Paintings could be related by subject and perspective. Among his famous series’ are his Haystacks, Rouen Cathedral and Water-Lilies.
In each series, Monet could paint the same site again and again, recording how its appearance changed with the time of day.

39. ‘Cathedral at Rouen: Harmony in Blue and Gold, Full Sunlight 1894’, by Claude Monet.

40. Cathedral at Rouen Series - 1890s
Dominated his artistic output in the 1890s.
In this series, he painted the cathedral again and again, recording how its appearance changed with the time of day.
Light and shadow seem as substantial as stone in his Rouen Cathedral series.
Monet rented a room across from the cathedral where he worked on several canvases switching as the light changed.

41. ‘Water Lily Pond - Harmony in Green’, c.1910, by Claude Monet.

42. Water-Lilies Series - 1900s
Water Lilies is a series of approximately 250 oil paintings.
The Water Lilies series depict Monet's flower garden at Giverny.
The Water Lilies paintings were the main focus of Monet's artistic production during the last thirty years of his life.
His final series depicts the pond in a set of mural-sized canvases where abstract renderings of plant and water emerge from broad strokes of colour and intricate textures.

43. Water-Lilies Series - 1900s
Many of the works were painted while Monet suffered from cataracts. In 1923, he had an operation to correct this. It also allowed him to see ultraviolet light and he began painting the water lilies in a bluer shade.
The Water Lilies paintings are on display at museums all over the world.
During the 1920s, the state of France built a pair of oval rooms at the Musée de l’Orangerie as a permanent home for eight water lily murals by Monet. The exhibit opened to the public a few months after Monet's death.
In 2007 one of Monet's water lily paintings sold for £ million at an auction in London.

44. IMPRESSIONISM PIERRE AUGUSTE RENOIR
Born Liége
Working-class
Painter in porcelain factory in Paris
Moderate success at the Salon (1864)

45. IMPRESSIONISM PIERRE AUGUSTE RENOIR
Education
École des Beaux Arts
Studio of Swiss Painter Marc Gleyre. Met Bazille, Sisley and Monet.
Monet and Renoir continued working together after the studio closed.

46. IMPRESSIONISM PIERRE AUGUSTE RENOIR
Subject Matter
Some landscapes: worked en plein air with Monet
Portraits: successful as a portrait artist in 1880s
Nudes
Humanity
- pretty women and children
- joyful scenes of Parisian life

47. IMPRESSIONISM PIERRE AUGUSTE RENOIR
His Influences
Decorative style used in painting porcelain
18thcentury French paintings studied in the Lourve e.g. François Boucher
Renaissance art
Other artists: Corot, Delacroix
Other Impressionists: Monet

48. IMPRESSIONISM PIERRE AUGUSTE RENOIR
His Style
Renoir’s style changed throughout his career.
: Most Impressionistic
1882 on: Ingres period
Later Renoir returned to more Impressionistic style.

49. IMPRESSIONISM PIERRE AUGUSTE RENOIR
His Role in Impressionism
The light-hearted air of delight and gaiety that is characteristic of Impressionist painting is Renoir’s influence.
Masterpieces of Impressionism
One of the chief organisers of the 1874 exhibition
Development of plein air techniques in the Summer of with Monet. Example: the colour of shadows is not brown or black but reflected colours of objects surrounding them.

50. ‘La Grenouillére, 1869, by Pierre Auguste Renoir.

51. ‘Le Moulin de la Galette, 1876, by Pierre Auguste Renoir.

52. ‘Lunchon of the Boating Party’, 1882, by Pierre Auguste Renoir.

53. ‘In the Meadow’, 1895, by Pierre Auguste Renoir.

54. ‘Dancing in the Country’, by Pierre Auguste Renoir.

55. ‘The Umbrellas’, by Pierre Auguste Renoir.