Timelines – L’Art moderne 1870 – 2000 PDF

Timelines – L’Art moderne 1870 – 2000 PDF

Jump to navigation Jump to search This article is about the art movement. 1872, oil on timelines – L’Art moderne 1870 – 2000 PDF, Musée Marmottan Monet, Paris.


The Impressionists faced harsh opposition from the conventional art community in France. The development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature. Radicals in their time, early Impressionists violated the rules of academic painting. They constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. They also painted realistic scenes of modern life, and often painted outdoors.

1876, Musée d’Orsay, one of Impressionism’s most celebrated masterpieces. Impressionism emerged in France at the same time that 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, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style.

In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art. The Académie 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. During the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. 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. Monet and Cézanne received the harshest attacks. Wallpaper in its embryonic state is more finished than that seascape. 1875, National Gallery of Art, Washington, D. The term Impressionist 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. They exhibited together—albeit with shifting membership—eight times between 1874 and 1886.

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