During the late 1860s a movement called Impressionism started.
Louis Leroy- a mocking critic- coined the term Impressionism in 1874 while seeing Impression: Sunrise by Claude Monet in an exhibition in Paris
Impressionism is an act of adding vibrant colors and manipulating the light of an object
It was a period in time where artists cast aside the painting methods of the Renaissance. Artists were inspired by nature and the visual reality in front of them and sought to portray it in a fresh and new way.
The picture in the background is Vincent Van Gogh’s room by Vincent Van Gogh
He was one of the important figure heads during Impressionism
Camille Pissarro was born July 10, 1830 on the Caribbean Island of St. Thomas, in the Danish West Indies. His parents were Abraham Gabriel Pissarro and Rachel Manzano-Pomié.
He first started a career as a business man but in 1852 he was acquainted with the Danish painter F. Melbye and spent two years in Caracas with him
His parents sent him to a boarding school at the age of 12 in Paris where the director noticed his interest in art and told him to take advantage of his life in the tropics and draw coconut trees.
He ran away to Venezuela. Under Melbye’s direction he created paintings and water colors, and many drawings in ink, pencil, and wash.
In 1852, he returned to St. Thomas and sooner left for Paris to continue his studies and pursue a career.
In 1874, joined Monet in a project to organize independent exhibitions; Renoir, Sisley, Béliard, Guillemin, Degas, Cézanne, and Berthe Morisot were among the ones that were offered work. They were faced with a lot of criticism.
He still experimented with theories of art; studied the effects of light, climate and season; and came up with a style that was all his own within the larger style of Impressionism.
He became the center of a group of painters-Renoir, Monet, Degas, Cézanne- who respected his art and was an inspiration to him
In his 74th year, Camille Pissarro had finally attained the respectability that had eluded him most of his life. His paintings started to bid for high prices and new artists admired his works.
Camille Pissarro died of blood poisoning on 13 November, 1903 in Le Havre, France. He had five sons-Lucien, Georges, Félix, Ludovic-Rodolphe, Paul Emile
The picture in the background is a landscape by Camille Pissarro
Renoir was born February 25, 1841, in Limoges, France. He was raised in Paris and at an early age showed a great interest and talent in drawing.
He started painting plates in a porcelain factory as an apprentice. Later he worked for his older brother decorating fans.
IN 1862 he entered the Atelier Gleyre to take his painting more seriously; it was there that he met, Claude Monet, Alfred Sisley, and Jean Frédéric Bazille.
Renoir struggled financially and emotionally during the 1860s because Paris’ renowned state-run art show, the Salon, frequently rejected his works.
In 1869, the Salon accepted his painting Lise , and he continued to study with Courbet and Manet, as well as Camille Corot and Eugène Delacroix.
Renoir and Monet painted together at La Grenouillère, a bathing spot on the Seine, in 1869.
During this time of Impressionism, the styles of the two artists were very identical, which shows how closely they collaborated with one another and shared their different discoveries.
In 1874, after being snubbed by the official Salon for their renegade painting styles, Renoir and other Impressionist painters such as Monet, Edgar Degas, Alfred Sisley, Camille Pissarro, and Berthe Morisot established their own independent exhibition.
Even though the independent Impressionist exhibitions were ridiculed, Renoir continued to succeed. He received valuable support from several sources: Caillebotte, one of the first patrons of the Impressionists; art dealer Durand-Ruel; and collectors like Victor Choquet, the Charpentiers, and the Daidets. Renoir was frequently commissioned to paint family portraits, including Madame Charpentier and Her Children (1878).
In his later years he suffered from rheumatoid arthritis which made painting more difficult and painful.
He died at Cagnes-sur-Mer on December 3, 1919, but not before he lived to see his portrait, Madame Georges Charpentier (1877), hung in the Louvre in Paris.
The picture in the background is called Luncheon at the Boating Party by Pierre- Auguste Renoir
Timeline for 1863-1873 During the Time of Impressionism
The Dawn of a new style - Impressionism
Manet - the 'father' of Impressionism - gained growing concern in Paris. The paintings of Morisot, Pissarro, Renoir were also shown, but they were not general accepted.
Dejeuner sur l' herbe
It was a painting shown in the salon. The man looking out from it was based on one of Manet's brothers(or both), while his companion was the sculptor Ferdinand Leenhoff, brother of Suzanne Leenhoff, whom Manet married in October.
The Birth of Impressionism
The first Impressionist exhibition was held in this year. Exhibitors were offered the freedom to show whatever they chose, without the interference of a jury. Many of the reviewers reacted favourably; however , there was no shortage of hostile reviews.
The name 'Impressionist' was given by a critic called Louis Lorey after the exhibition.
The second Impressionist exhibition in this year attracted wider review coverage than the first and on the whole critical comment was slightly more favourable. The pictures that attracted most comment were Degas' Portrait in an office and Monet's The Japanese Girl .
The third exhibition in 1877 was not a great success and brought no improvement in the Impressionists' financial position.
Publication of 'La Vie Moderne'
It was a magazine aimed at promoting the work of Impressionists by a friend and patron of Renoir. The name of the publisher was Georges Charpentier. In the same year, the fourth exhibition was held.
Camille Monet on her Deathbed
Timeline for 1863-1873 During the Time of Impressionism (cont.)
Monet remarked to Clemenceau on this macabre work: 'I caught myself... searching for the succession, the arrangement of coloured gradations that death was imposing on her motionless face.'
The fifth exhibition in this year was a bad one. As the artists could not agree about a title for their exhibition and Cezanne, Monet, Renoir and Sisley ultimately refused to participate. The show was therefore very unbalanced and - badly lit, poorly hung and unsuitably housed - had poor attendance figures and even worse reviews.
Degas stole the show
The Realist tendencies of 1880 were confirmed in the composition of the sixth Impressionist show, dominated by Degas and he was responsible for dividing the group, and joined those boycotting the exhibition.
The Seventh Impressionist exhibition
An art dealer, Durand-Ruel, took the artists in hand and organized their exhibition in an attempt to restore a semblance of unity to the group.
The End of an Era
In the eighth exhibition, the paintings by Seurat, Signac and Lucien Pissarro were admitted, it was clear that this was the end of Impressionism in the sense of the movement that had begun in 1874. At the same time, 'Neo-Impressionism' began.
This is statement said by Louis Leroy written in a form of a dialogue for viewers of Claude Monet’s art:
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.