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

Characteristics of Impressionist painting include visible brushstrokes, 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 emergence of Impressionism in the visual arts was soon followed by analogous movements in other media which became known as Impressionist music and Impressionist literature.

Overview

Radicals in their time, early Impressionists broke the 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. Painting realistic scenes of modern life, they emphasized vivid overall effects rather than details. They used short, "broken" brush strokes of pure and unmixed color, not smoothly blended, as was customary, in order to achieve the effect of intense color vibration.

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 color.

The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if it did not receive the approval of the art critics and establishment.

By re-creating 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 Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.

Beginnings

In an atmosphere of change as Empereur Napoléon 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. 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, 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.

The young 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. 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.

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.

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 persuaded Monet to take up plein air painting years before. 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, which was the first of eight that the group would present between 1874 and 1886.

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,

Impression — I 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.

The term "Impressionists" quickly gained favour 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.

Monet, Sisley, Morisot, and Pissarro may be considered the "purest" Impressionists, in their consistent pursuit of an art of spontaneity, sunlight, and color. Degas rejected much of this, as he believed in the primacy of drawing over color and belittled the practice of painting outdoors. Renoir turned against Impressionism for a time in the 1880s, and never entirely regained his commitment to its ideas. Édouard Manet, despite his role as a leader to the group, never abandoned his liberal use of black as a color, and never participated in the Impressionist exhibitions. He continued to submit his works to the Salon, where his Spanish Singer had won a 2nd class medal in 1861, and he urged the others to do likewise, arguing that "the Salon is the real field of battle" where a reputation could be made.

Among the artists of the core group (minus Bazille, who had died in the Franco-Prussian War in 1870), defections occurred as Cézanne, followed later by Renoir, Sisley, and Monet, abstained from the group exhibitions in order to submit their works to the Salon. Disagreements arose from issues such as Guillaumin's membership in the group, championed by Pissarro and Cézanne against opposition from Monet and Degas, who thought him unworthy. Degas invited Mary Cassatt to display her work in the 1879 exhibition, but he also caused dissention by insisting on the inclusion of Jean-François Raffaëlli, Ludovic Lepic, and other realists who did not represent Impressionist practices, leading Monet in 1880 to accuse the Impressionists of "opening doors to first-come daubers". The group divided over the invitation of Signac and Seurat to exhibit with them in 1886. Pissarro was the only artist to show at all eight Impressionist exhibitions.

The individual artists saw few financial rewards from the Impressionist exhibitions, but their art gradually won a degree of public acceptance. 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.

Impressionist techniques

• Short, thick strokes of paint are used to quickly capture the essence of the subject, rather than its details. The paint is often applied impasto.
• Colors are applied side-by-side with as little mixing as possible, creating a vibrant surface. The optical mixing of colors occurs in the eye of the viewer.
• Grays and dark tones are produced by mixing complementary colors. In pure Impressionism the use of black paint is avoided.
• Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and an intermingling of color.[1]
• Impressionist paintings do not exploit the transparency of thin paint films (glazes) which earlier artists built up carefully to produce effects. The surface of an Impressionist painting is typically opaque.
• The play of natural light is emphasized. Close attention is paid to the reflection of colors from object to object.
• In paintings made en plein air (outdoors), shadows are boldly painted with the blue of the sky as it is reflected onto surfaces, giving a sense of freshness and openness that was not captured in painting previously. (Blue shadows on snow inspired the technique.)

Painters throughout history had occasionally used these methods, but Impressionists were the first to use all of them together, and with such boldness. Earlier artists whose works display these techniques include Frans Hals, Diego Velázquez, Peter Paul Rubens, John Constable, and J. M. W. Turner.

French painters who prepared the way for Impressionism include the Romantic colorist Eugène Delacroix, the leader of the realists Gustave Courbet, and painters of the Barbizon school such as Théodore Rousseau. The Impressionists learned much from the work of Camille Corot and Eugène Boudin, who painted from nature in a style that was close to Impressionism, and who befriended and advised the younger artists.

Impressionists took advantage of the mid-century introduction of premixed paints in lead tubes (resembling modern toothpaste tubes) which allowed artists to work more spontaneously, both outdoors and indoors. Previously, painters made their own paints individually, by grinding and mixing dry pigment powders with linseed oil, which were then stored in animal bladders.

Content and composition

Impressionism and photography

Before the Impressionists other painters, notably such 17th century Dutch painters as Jan Steen, had focused on common subjects, but their approaches to composition were traditional. They arranged their compositions in such a way that the main subject commanded the viewer's attention. The Impressionists relaxed the boundary between subject and background so that the effect of an Impressionist painting often resembles a snapshot, a part of a larger reality captured as if by chance. Photography was gaining popularity, and as cameras became more portable, photographs became more candid. Photography inspired Impressionists to capture the moment, not only in the fleeting lights of a landscape, but in the day-to-day lives of people.

Another major influence was Japanese art prints (Japonism), which had originally come into France as wrapping paper for imported goods. The art of these prints contributed significantly to the "snapshot" angles and unconventional compositions which would become characteristic of the movement.

Edgar Degas was both an avid photographer and a collector of Japanese prints. His The Dance Class (La classe de danse) of 1874 shows both influences in its asymmetrical composition. The dancers are seemingly caught off guard in various awkward poses, leaving an expanse of empty floor space in the lower right quadrant.

Post-Impressionism

Post-Impressionism developed from Impressionism. From the 1880s several artists began to develop different precepts for the use of color, pattern, form, and line, derived from the Impressionist example: Vincent Van Gogh, Paul Gauguin, Georges Seurat, and Henri de Toulouse-Lautrec. These artists were slightly younger than the Impressionists, and their work is known as post-Impressionism. Some of the original Impressionist artists also ventured into this new territory; Camille Pissarro briefly painted in a pointillist manner, and even Monet abandoned strict plein air painting. Paul Cézanne, who participated in the first and third Impressionist exhibitions, developed a highly individual vision emphasizing pictorial structure, and he is more often called a post-Impressionist. Although these cases illustrate the difficulty of assigning labels, the work of the original Impressionist painters may, by definition, be categorized as Impressionism.

Painters known as Impressionists

The central figures in the development of Impressionism in France, listed alphabetically, were:

• Frédéric Bazille
• Gustave Caillebotte (who, younger than the others, joined forces with them in the mid 1870s)
• Mary Cassatt (American-born, she lived in Paris and participated in four Impressionist exhibitions)
• Paul Cézanne (although he later broke away from the Impressionists)
• Edgar Degas (a realist who despised the term Impressionist, but is considered one, due to his loyalty to the group)
• Armand Guillaumin
• Édouard Manet (who did not regard himself as an Impressionist, but is generally considered one)
• Claude Monet (the most prolific of the Impressionists and the one who most clearly embodies their aesthetic)
• Berthe Morisot
• Camille Pissarro
• Pierre-Auguste Renoir
• Alfred Sisley

Among the close associates of the Impressionists were several painters who adopted their methods to some degree. These include Giuseppe De Nittis, an Italian artist living in Paris who participated in the first Impressionist exhibit at the invitation of Degas, although the other Impressionists disparaged his work. Federico Zandomeneghi was another Italian friend of Degas who showed with the Impressionists. Eva Gonzalès was a follower of Manet who did not exhibit with the group. James Abbott McNeill Whistler was an American-born painter who played a part in Impressionism although he did not join the group and preferred grayed colors. Walter Sickert, an English artist, was initially a follower of Whistler, and later an important disciple of Degas; he did not exhibit with the Impressionists. In 1904 the artist and writer Wynford Dewhurst wrote the first important study of the French painters to be published in English, Impressionist Painting: its genesis and development, which did much to popularize Impressionism in Great Britain.

By the early 1880s, Impressionist methods were affecting, at least superficially, the art of the Salon. Fashionable painters such as Jean Beraud and Henri Gervex found critical and financial success by brightening their palettes while retaining the smooth finish expected of Salon art. Works by these artists are sometimes casually referred to as Impressionism, despite their remoteness from Impressionist practice.

Beyond France

As the influence of Impressionism spread beyond France, artists, too numerous to list, became identified as practitioners of the new style. Some of the more important examples are:

• The American Impressionists, including Mary Cassatt, William Merritt Chase, Frederick Carl Frieseke, Childe Hassam, Willard Metcalf, Lilla Cabot Perry, Theodore Robinson, Edmund Charles Tarbell, John Henry Twachtman, and J. Alden Weir.
• Anna Boch, Vincent van Gogh´s friend Eugène Boch, Georges Lemmen and Théo van Rysselberghe Impressionist painters from Belgium.
• Walter Richard Sickert and Philip Wilson Steer were well known Impressionist painters from the United Kingdom.
• The Australian Impressionists, including Frederick McCubbin and Tom Roberts who were prominent members of the Heidelberg School and John Peter Russell a friend of Van Gogh, Rodin, Monet and Matisse as well as Rupert Bunny, Agnes Goodsir and Hugh Ramsay.
• Lovis Corinth, Max Liebermann, and Max Slevogt in Germany
• László Mednyánszky in Hungary
• Roderic O'Conor, and Walter Osborne in Ireland
• Konstantin Korovin and Valentin Serov in Russia
• Francisco Oller y Cestero, a native of Puerto Rico and a friend of Pissarro and Cézanne
• William McTaggart in Scotland.
• Laura Muntz Lyall, a Canadian artist
• Władysław Podkowiński, a Polish Impressionist and symbolist
• Nazmi Ziya Güran, who brought Impressionism to Turkey
• Chafik Charobim in Egypt
• Eliseu Visconti in Brazil
• Mārtiņš Krūmiņš in Latvia, Germany and the United States.
• Joaquín Sorolla in Spain
• Fernando Fader, Martín Malharro, Ramón Silva in Argentina
• Skagen Painters a group of Scandinavian artists who painted in a small Danish fishing village

Other visual artists known as Impressionists

The sculptor Auguste Rodin is sometimes called an Impressionist for the way he used roughly modeled surfaces to suggest transient light effects. Pictorialist photographers whose work is characterized by soft focus and atmospheric effects have also been called Impressionists. Examples are Kirk Clendinning, Alvin Langdon Coburn, Robert Farber, Eduard Steichen, Alfred Stieglitz, and Clarence H. White.

French impressionist filmmakers include Abel Gance, Jean Epstein, Germaine Dulac, Marcel L’Herbier, and Louis Delluc, and Dmitry Kirsanoff.

Impressionism in music and literature

Musical Impressionism is the name given to a movement in European classical music that arose in the late nineteenth century and continued into the middle of the twentieth century. Originating in France, musical Impressionism is characterized by suggestion and atmosphere, and eschews the emotional excesses of the Romantic era. Impressionist composers favored short forms such as the nocturne, arabesque, and prelude, and often explored uncommon scales such as the whole tone scale. Perhaps the most notable innovations used by Impressionist composers were the first uses of major 7th chords and the extension of chord structures in 3rds to five and six part harmonies.

The influence of visual Impressionism on its musical counterpart is debatable. Claude Debussy and Maurice Ravel are generally considered the greatest Impressionist composers, but Debussy disavowed the term, calling it the invention of critics. Erik Satie was also considered to be in this category although his approach was considered to be less serious, more of musical novelty in nature. Paul Dukas is another French composer sometimes considered to be an Impressionist but his style is perhaps more closely aligned to the late Romanticists. Musical Impressionism beyond France includes the work of such composers as Ralph Vaughan Williams and Ottorino Respighi.

The term Impressionism has also been used to describe works of literature in which a few select details suffice to convey the sensory impressions of an incident or scene. Impressionist literature is closely related to Symbolism, with its major exemplars being Baudelaire, Mallarmé, Rimbaud, and Verlaine. Authors such as Virginia Woolf and Joseph Conrad have written works which are Impressionistic in the way that they describe, rather than interpret, the impressions, sensations and emotions that constitute a character's mental life.

Impressionism in cinema

While generally a term used to describe static artworks, impressionism is a label that has also been attached to cinema; generally - as a refutation of sorts of the common practise of cerating cinema solely as a commercial venture - it is used to describe examples of cinematography that exhibit at least as much artistry for artistry's sake as commercial traits; thus, the practise of cinematography as an art form rather than a commercial venture.

Contemporary sources

• Les Peintres impressionnistes (1878) by Duret

See also

• Haystacks (Monet series)
• 19th century art
• American Impressionism
• Art periods
• French Impressionist Cinema
• Heidelberg School
• Impasto