Can anyone explain the 19th century impressionism movement?

Answer 1

It happened after the camera was invented. Since the camera could now take pictures as life really was (what all the artists had done before) they needed to come up with a new form of depicting life that the camera couldn't do. Thus, the impressionist style with its fuzzier type of painting started. Then came Dadaism and post impressionism and cubism that did the same thing.

Answer 2

Impressionism is a style of art of Paris of 19Th century, mostly express in painting. I will not repeat the history of it but I may add that that style address the eyes of the spectator. When you look at a impressionist painting from up close, all you see is a blur; you can only see the shapes in the painting from a distance. That effect was created by the artist small brushstrokes.

Answer 3

Impressionism was a 19th century art movement that began as a loose association of Paris-based artists who began publicly exhibiting their art in the 1860s. The name of the movement is derived from Claude Monet's Impression, Sunrise (Impression, soleil levant). Critic Louis Leroy inadvertently coined the term in a satiric review published in Le Charivari.

Characteristics of Impressionist painting include visible brushstrokes, light colors, open composition, emphasis on light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, and unusual visual angles.

The influence of Impressionist thought spread beyond the art world, leading to Impressionist music and Impressionist literature.

Impressionism also describes art done in this style, but outside of the late 19th century time period.

Answer 4

Around 1865 in France, Monet, Pissarro, Renoir, Degas, Sisley, and a few other painters invented a new way of painting. Instead of form they wanted to show the effects of light. For instance Monet painted the gothic Cathedral at Rouen about 30 times. He wanted to show how the same building looked different depending on the quality and amount of light at different times of the day and in different types of weather. Some of these paintings show the facade of the Cathedral in morning mist, some show the Cathedral in afternoon golden light, some at midday when details are not so clear, etc. He did other subjects like haystacks in different light and poplars in different light and so on. Degas was known for ballet dancers and jockeys before the race, Renoir was best known for beautiful women, etc.

Answer 5

The idea behind impressionism was to present an image so that you had to think about the image, to impress upon the viewer what the art represented.

Answer 6

A lot of pictures here:

http://images.google.co.uk/images?sourceid=navclient&ie=UTF-8&rls=SUNA,SUNA:2005-40,SUNA:en&q=Impressionism&sa=N&tab=wi


Movement in art that developed in France in the late 19th century. In painting it included works produced c. 1867–86 by a group of artists who shared approaches, techniques, and discontent with academic teaching, originally including Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley, and Berthe Morisot. Later Édouard Manet, whose earlier style had strongly influenced several of them, Mary Cassatt, Edgar Degas, Paul Cézanne and others joined them. The identifying feature of their work was an attempt to record a scene accurately and objectively, capturing the transient effects of light on colour and texture. To this end they abandoned the traditional muted browns, grays, and greens in favour of a lighter, more brilliant palette; stopped using grays and blacks for shadows; built up forms out of discrete flecks and dabs of colour; and often painted out of doors, rather than in the studio. They abandoned traditional formal compositions in favour of a more casual and less contrived disposition of objects within the picture frame, and their subject matter included landscapes, trees, houses, and even urban street scenes and railroad stations. After the French Academy's Salon consistently rejected most of their works, they held their own exhibition in 1874; seven others followed. A critic described them derisively as “impressionists,” and they adopted the name as an accurate description of their intent. Before dissolving in the late 1880s, the group had revolutionized Western painting. See also Post-Impressionism; Salon des Indépendants.

Impressionism was a 19th century art movement that began as a loose association of Paris-based artists who began publicly exhibiting their art in the 1860s. The name of the movement is derived from Claude Monet's Impression, Sunrise (Impression, soleil levant). Critic Louis Leroy inadvertently coined the term in a satiric review published in Le Charivari.

Characteristics of Impressionist painting include visible brushstrokes, light colors, open composition, emphasis on light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, and unusual visual angles.

The influence of Impressionist thought spread beyond the art world, leading to Impressionist music and Impressionist literature.

Impressionism also describes art done in this style, but outside of the late 19th century time period.

Radicals in their time, early Impressionists broke the picture-making rules of academic painting. They began by giving colors, 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 world. Previously, not only still lifes and portraits but also landscapes had been painted indoors, but the Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air. They used short, "broken" brush strokes of pure and unmixed colour, not smoothly blended as was the custom at the time. For example, instead of physically mixing yellow and blue paint, they placed unmixed yellow paint on the canvas next to unmixed blue paint, thus mixing the colors through our perception of them: creating the "impression" of green. Painting realistic scenes of modern life, they emphasized vivid overall effects rather than details.

Although the rise of Impressionism in France happened at a time when a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting, the Impressionists developed new techniques that were specific to the movement. Encompassing what its adherents argued was a different way of seeing, it was an art of immediacy and movement, of candid poses and compositions, of the play of light expressed in a bright and varied use of colour.

The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if it did not meet with approval of the artistic establishment. By recreating the sensation in the eye that views the subject, rather than recreating the subject, and by creating a welter of techniques and forms, Impressionism became seminal to various movements in painting which would follow, including Post-Impressionism, Fauvism, and Cubism.

Beginnings
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 closely examined. Color was somber and conservative, and the traces of brush strokes were suppressed, concealing the artist's personality, emotions, and working techniques.

The Académie held an annual art show, the Salon de Paris, and artists whose work displayed in the show won prizes, garnered commissions, and enhanced their prestige. Only art selected by the Académie jury was exhibited in the show, and the standards of the juries reflected the values of the Académie.

The young artists painted in a lighter and brighter style than most of the generation before them, 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 favor of trivial works by artists working in the approved style. 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 were soon 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 on 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.[1] 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.

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.[2]

Artists' petitions requesting a new Salon des Refusés in 1867, and again in 1872, were denied. In April of 1874 a group consisting of Monet, Renoir, Pissarro, Sisley, Cézanne, Berthe Morisot and Edgar Degas organized their own exhibition at the studio of the photographer Nadar. They invited a number of other progressive artists to exhibit with them, including the slightly older Eugène Boudin, whose example had first convinced Monet to take up plein air painting years before.[3] Another painter who greatly influenced Monet and his friends, Johan Jongkind, declined to participate, as did Manet. In total, thirty artists participated in the exhibition, the first of eight that the group would present between 1874 and 1886.

After seeing the show, critic Louis Leroy (an engraver, painter, and successful playwright), wrote a scathing review in the Le Charivari newspaper. Among the paintings on display was Claude Monet's Impression, Sunrise (Impression, soleil levant), which became the source of the derisive title of Leroy's 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.

Answer 7

No, sorry!!