1. Impressionist Era  The originally associated Impressionist artists came together in Paris during the early 1860s – Pissarro and Degas being the first to incorporate the movement’s characteristics.  Eight official Impressionist exhibitions took place in Paris – the first was in April 1874 and featured the work of the earliest Impressionist painters, including Bazille, Cézanne, Monet and Renoir. This was followed by continual exhibitions of the same nature in 1876, 1877, 1879, 1880, 1881, 1882 and 1886.  As the work and style of the Impressionists began to receive European recognition throughout the 1890s, paintings by the initial artists were becoming rare as the most active period of the movement was rapidly drawing to a close.

2.  The most prolific art dealer associated with the Impressionists was Paul Durand-Ruel, who frequently bought paintings, organised one-person exhibitions and made the successful decision to bring the artwork of the Impressionists to the United States.  Other patrons included Dr Paul Gachet and Dr Georges de Bellio Patronage  The predominant source of income for the vast majority of the Impressionists was the sale of their work to patrons and art dealers.  Many patrons, some well known and some not, provided the artists of the time with financial stability and would often purchase their work in multiple lots at one time. Paul Durand-Ruel

3. Why did they paint?  What was the reasoning behind the Impressionists’ work? Although the answer to this question is incredibly complex and hard to pin- point, it is easy to discover that Van Gogh, Caillebotte, Cézanne and Monet in particular painted for their own personal satisfaction.  Van Gogh produced his artwork as he felt in provided him with stability and a much desired link to humanity.  Caillebotte painted as a way of portraying modern day life for future generations to view.  Cézanne often depicted highly colourful outdoor scenes and portraiture images that he wanted to see in reality.  Monet painted merely to improve his financial situation.

4. Bibliography ‘French Connections’ ‘The Chronicle of Impressionism’ by Bernard Denvir ‘The Art of the Impressionists’ by Horst Keller ‘The Art of the Impressionists’ by Janice Anderson (small black) The Thames and Hudson Dictionary of Art and Artists The Oxford Dictionary of Art and Artists (Editor: Ian Chilvers) ‘Impressionist Dreams’ by John Russell Taylor www.artmovements.co.uk impressionist1877.tripod.com