![]() ![]() Their dissatisfaction was not just with the esthetic standards of the Ecole, but with the fact that it was governed by an institutional structure which maintained these standards, to which artists had to subscribe in order to be successful. ![]() 1863) and Gleyre's Minerva and the Graces (1866). Examples of such work are Alexandre Cabanel's, The Birth of Venus (c. The Impressionists were indeed dissatisfied with the classical training given at the Ecole des Beaux-Arts, or the state-run school of fine art, and especially with its emphasis on historical and mythological subject matter and "correct" drawing in the manner of the antique or Renaissance masters such as Raphael. Monet, Camille Pissarro, and Paul Cezanne (who met at the Academie Suisse) and Auguste Renoir, Alfred Sisley, and Frederic Bazille (who met Monet at Gleyre's) are said to have united in opposition to a conservative, classical training and, under the example of the landscapists Eugene Boudin and Johan Barthold Jongkind, went to paint nature in the open air in a novel, bold, and "sketchy" manner. This, of course, raises the questions who and what were the Impressionists? One familiar answer is that they were a group of painters, some of whom first met between 18 at an informal studio, the Academie Suisse, and the rest of whom shared time together between 18 in the studio of the painter Charles Gleyre at the Ecole des Beaux-Arts. For another, the Impressionists were a group whose members' work was far more diverse than Duret suggests. For one thing, as we shall see, an impression was not just the record of transient effects of light and atmosphere. However, Duret's definition of Impressionism, and the idea deriving from it that Monet was the archetypal Impressionist, are not without their problems. His canvases really do communicate impressions.Įdouard Manet, Music in the Tuileries (1862)ĭuret was arguing that what made a painter an Impressionist was that he or she pursued transient atmospheric effects, which he seems to suggest were also the painter's impressions. No longer painting merely the immobile and permanent aspect of a landscape, but also the fleeting appearances which the accidents of atmosphere present to him, Monet transmits a singularly lively and striking sensation of the observed scene. Monet is the Impressionist painter par excellence." Duret then went on to give his reasons:Ĭlaude Monet has succeeded in setting down the fleeting impression which his predecessors had neglected or considered impossible to render with the brush. accepted to designate a group of painters, it is certainly the peculiar qualities of Claude Monet's paintings which first suggested it. The critic and friend of the Impressionists, Theodore Duret, wrote in 1878: ![]() Monet's painting and its eccentric title helped give Impressionism its name and, indeed, for many people, have come to exemplify Impressionism in general. Inc." This was the first of what we now know as the Impressionist exhibitions. In April 1874, Claude Monet showed Impression, Sunrise (1873) at an exhibition by a group calling itself "Painters, Sculptors, Engravers etc. ![]() Paul Smith, Impressionism Beneath the Surface (New York : H.N. ![]()
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