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Impressionism

Impressionism was a 19th-century art movement that originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s in spite of harsh opposition from the art community in France The name of the style is derived from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satiric review published in the Parisian newspaper Le CharivariCharacteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes; open composition; emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time); common, ordinary subject matter; the inclusion of movement as a crucial element of human perception and experience; and unusual visual angles The development of Impressionism in the visual arts was soon followed by analogous styles in other media which became known as Impressionist music and Impressionist literatureImpressionism also describes art created in this style, but outside of the late 19th century time periodRadicals in their time, early Impressionists violated the rules of academic painting They began by constructing their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugine Delacroix They also painted realistic scenes of modern life, and often painted outdoors Previously, still lifes and portraits as well as landscapes had usually been painted in the studio[1] The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air They portrayed overall visual effects instead of details, and used short "broken" brush strokes of mixed and pure unmixed colournot blended smoothly or shaded, as was customaryin order to achieve the effect of intense colour vibrationAlthough the emergence 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 style 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 colourThe public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the new style did not receive the approval of the art critics and establishmentBy recreating the sensation in the eye that views the subject, rather than delineating the details of the subject, and by creating a welter of techniques and forms, Impressionism became a precursor of various styles of painting, including Neo-Impressionism, Post-Impressionism, Fauvism, and CubismIn a time of change as Emperor Napoleon160;III of France rebuilt Paris and waged war, the Acadimie des Beaux-Arts dominated French art during the middle of the 19th century The Acadimie was the preserver 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 Acadimie preferred carefully finished images which looked realistic when examined closely Colour was somber and conservative, and the traces of brush strokes were suppressed, concealing the artist's personality, emotions, and working techniquesThe Acadimie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige The standards of the juries represented the values of the Acadimie, represented by the works of such artists as Jean-Lion Girime and Alexandre Cabanel

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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, the works they submitted to the Salon jury were rejected in favour of works by artists faithful to the approved style


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Impressionism - Oil Paintings Art Gallery Maria D'Adam