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Impressionism
The document discusses the influence of Japanese art, known as Japonisme, on Western art in the late 19th century. It began when trade opened with Japan in 1854, exposing Western artists to woodblock prints, which were popularized in Paris exhibitions and shops in the 1860s. Artists admired the prints' flatness, asymmetry, and emphasis on nature over symmetry. Many Impressionist and Post-Impressionist artists, such as Manet, Degas, Van Gogh, and Gauguin, were influenced by these styles and incorporated elements of them into their own works.
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Impressionism
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- 2. IMPRESSIONISM Edouard Manet The artistwho bridged Realism and Impressionism. Inspiration and leader in the spirit of Impressionist revolution
- 3. IMPRESSIONISM Manet The Luncheon onthe Grass oil on canvas 1863
- 4. IMPRESSIONISM Manet, A Barin Folies-Bergere, oil on canvas, 1881-82
- 5. IMPRESSIONISM The Salon ,or rarely Paris Salon (French: Salon de Paris), beginning in 1725 was the official art exhibition of the Academie des Beaux-Arts in Paris, France. Between 1748–1890, it was the greatest annual or biannual art event in the Western world. From 1881 onward, it has been organized by the Societe des Artistes Francais.
- 6. IMPRESSIONISM Claude Monet Frederic Bazille Pierre-AugusteRenoir Edgar Degas They called themselves the Anonymous Society of Painters, Sculptors, and Printmakers. The show opened at about the same time as the annual Salon, May 1874. The Impressionists held eight exhibitions from 1874 through 1886.
- 7. IMPRESSIONISM Claude Monet's Impression,Sunrise (Musée Marmottan Monet, Paris) exhibited in 1874, gave the Impressionist movement its name when the critic Louis Leroy accused it of being a sketch or "impression," not a finished painting.
- 8. IMPRESSIONISM It demonstrates thetechniques many of the independent artists adopted: --short, broken brushstrokes that barely convey forms -- pure and bright unblended colors --mostly opaque, no glazes --emphasis on the effects or play of natural light --shadows and highlights rendered in color rather than neutrals, no black pigment -- loose brushwork gives an effect of spontaneity and effortlessness that masks their often carefully constructed compositions --casual style
- 9. IMPRESSIONISM Claude Monet The Fatherof Impressionism
- 10. IMPRESSIONISM Claude Monet, ImpressionSunrise, 1872 (exhibited at the first Impressionist exhibition in 1874)
- 11. IMPRESSIONISM Monet Haystacks at theEnd of Summer, Morning Effect oil on canvas 1891.
- 12. IMPRESSIONISM Monet Haystack, Morning Snow Effect oilon canvas 1891
- 13. IMPRESSIONISM Monet Haystack End of theSummer. Morning oil on canvas 1891
- 14. IMPRESSIONISM Rouen Cathedral Full Sunlight 1894 RouenCathedral West Façade, Sunlight 1892
- 15. IMPRESSIONISM Rouen Cathedral: theportal 1800s The critics didn't understand that this painting wasn't about the cathedral, it was about the sunlight and time of day the painting was made in. Monet focused on the lighting of the object to create a better understanding of the form. It was more like a study of light and color. Critics said he was destroying the form of art.
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- 20. IMPRESSIONISM Edgar Degas The LittleFourteen Year Old Dancer bronze, wood, satin, cotton skirt 1922, 1879-80
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- 22. IMPRESSIONISM Pierre-August Renoir Luncheon ofthe Boating Party 1881
- 23. IMPRESSIONISM Pierre-Auguste Renoir Bal duMoulin de la Galette oil on canvas 1876
- 24. IMPRESSIONISM Renoir Girl with a Hoop 1885 Renoir Portraitof Berthe Morisot and Daughter Julie Manet 1894
- 25. IMPRESSIONISM Gustave Caillebot Paris Streetin Rainy Weather Oil on canvas 1877 Gustave Caillebot 1848-1894
- 26. IMPRESSIONISM Bethe Morisot 1841-1895 BertheMorisot Cornfield oil on canvas ca 1875
- 27. IMPRESSIONISM Mary Cassatt The Bath oilon canvas 1893 Mary Cassatt 1844-1926
- 28. IMPRESSIONISM Camille Pissaro 1830-1903 Camille Pissaro The Woodsat Marly Oil on canvas 1871
- 29. IMPRESSIONISM Demise and Criticism(according to Cezanne) --too rushed --too accidental --too superficial --too feminine --not conceptual --not intellectual enough for male artists --too consumable --too materialistic --lacks structure, artistic control, imagination
- 30. IMPRESSIONISM Spread beyond France United States Australia Hungary Turkey Ireland Russia Brazil Egypt Argentina, etc.
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- 32. POST - IMPRESSIONISM Post-Impressionists:A term that was coined by Roger Fry, an artist and art critic (1866-1934) in his seminal exhibition Manet and the Post-Impressionists installed at the Grafton Galleries in London in 1910.
- 33. POST - IMPRESSIONISM Georges Seurat Vincent van Gogh Paul Gaugain Paul Cezanne == a group of young painters who broke free from the naturalism of Impressionism and pursued independent approaches and styles in art.
- 34. POST - IMPRESSIONISM GeorgesSeurat 1859-1891
- 35. POST - IMPRESSIONISM Seurat TheSiene at la Grande Jatte, oil on canvas 888
- 36. POST - IMPRESSIONISM Seurat,Bathers at Asnieres, oil on canvas, 1884
- 37. POST - IMPRESSIONISM GeorgesSeurat Sunday Afternoon in the Island of Grand Jatte oil on canvas 1884--86
- 38. POST - IMPRESSIONISM Vincentvan Gogh 1853-1890
- 39. POST - IMPRESSIONISM Self-Portrait oilon pasteboard 1887
- 40. POST - IMPRESSIONISM StarryNight over the Rhone 1888
- 41. POST - IMPRESSIONISM WheatField with Cypresses 1889
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- 43. POST - IMPRESSIONISM Wheatfieldwith Crows 1890
- 44. POST - IMPRESSIONISM PaulGauguin 1848-1903 French artist Paul Gauguin's bold colors, exaggerated body proportions and stark contrasts helped him achieve broad success in the late 19th century. Symbolism
- 45. POST - IMPRESSIONISM TheYellow Christ 1889
- 46. POST - IMPRESSIONISM Spiritof the Dead Watching 1892
- 47. POST - IMPRESSIONISM WhereDo We Come From, What Are We? Where Are We Going? 1897-1898 Oil on canvas Museum of Fine Arts, Boston
- 48. POST - IMPRESSIONISM TahitianWomen on the Beach oil on canvas 1891
- 49. POST - IMPRESSIONISM PaulCezanne 1839-1906 Precursor of 20th century art
- 50. POST - IMPRESSIONISM Heepitomized the reaction against it when he declared: ‘I wanted to make of Impressionism something solid and enduring, like the art in museums.’ Believing colour and form to be inseparable, he tried to emphasize structure and solidity in his work, features he thought neglected by the Impressionists.
- 51. POST - IMPRESSIONISM Forthis reason he was a central figure in Post-Impressionism. He rarely dated his works (and often did not sign them either), which makes it hard to ascertain the chronology of his oeuvre with any precision. Until the end of his life he received little public success and was repeatedly rejected by the Paris Salon. In his last years his work began to influence many younger artists, including both the Fauves and the Cubists, making him a precursor of 20th-century art.
- 52. POST - IMPRESSIONISM TheBasket of Apples 1890-1894
- 53. POST - IMPRESSIONISM MontSaint-Victoire 1882-1885
- 54. POST - IMPRESSIONISM MontSaint-Victoire 1185-87
- 55. POST - IMPRESSIONISM MadameCezanne in the Greenhouse 1891-92
- 56. POST - IMPRESSIONISM SUMMARY Accordingto the present state of discussion, Post- Impressionism is a term best used within Rewald's definition in a strictly historical manner, concentrating on French art between 1886 and 1914, and re- considering the altered positions of Impressionist painters like Monet, Pissaro, Renoir, and others—as well as all new brands at the turn of the century: from Cloisonnism to Cubism. The declarations of war, in July/August 1914, indicate probably far more than the beginning of a World War—they signal a major break in European cultural history, too.
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- 58. JAPONISME Japonisme, orJaponism, is a French term that was first used by Jules Claretie in his book L’Art Francais en 1872. It refers both to influence and style of Japanese art on Western art. Vincent Van Gogh Portrait of Pere Tanguy 1887-1888
- 59. JAPONISME Precedents: Re-opening ofJapanese trade with the West in 1854. Introduction of Japanese arts and crafts in Europe like fans, porcelains, woodcuts and fans.
- 60. JAPONISME In 1862,a shop opens in Paris called “The Chinese Gate.” The shop sold Japanese prints made from woodblocks, which appealed greatly to 19th century artists. The best Japanese prints could be found in Paris. Kinryusan Temple at Asakusa: From the series One Hundred Famous Views of Edo, Edo period (1615–1868), 1856 Ando Hiroshige (Japanese, 1797–1858) Oban format, woodblock print; ink and color on paper
- 61. JAPONISME Articles onJapanese prints and art techniques of the Edo era were featured in French magazines and newspapers. In 1867, Paris saw a formal exhibition of Japanese arts when it joined the World Fair in Paris. In the late 1800s, there were many French artists and collectors that went to Japan. Japanese Satsuma pavillion at the French Expo 1867.
- 62. JAPONISME The Japanese delegationto the 1867 Paris World Fair. Source: engraving from photograph, 1867 "Le Monde Illustre".
- 63. JAPONISME What did Frenchartists admire about Japanese prints? Its foreignness/exotic appeal. Its uniqueness that comes from specific elements employed by Japanese painters.
- 64. JAPONISME One ofthese elements is the lack of distinction of shading in Japanese prints. Artists, like Manet, who were influenced by Japanese prints, began to break down distinctions between depth. Emphasis on flatness
- 65. JAPONISME Another elementis Japanese artists’ disregard for symmetry, something that had defined a lot of western European art. Japanese techniques were so different from the Greco-Roman art that has been a primary influence on western art for centuries.
- 66. JAPONISME Other featuresinclude emphasis on nature, and recording nature in an almost picturesque fashion, stressing the verticality of their painting, and painting from aerial perspective.
- 67. JAPONISME There wereso many artists influenced by Japanese prints, like, van Gogh, Mary Cassatt, Gauguin, Whistler, Degas, Monet, Gustav Klimt, and even the architect Frank Lloyd Wright.
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- 70. JAPONISME Edgar Degas Portrait ofJames Tissot Bet circa 1867 and 1868 oil on canvas
- 71. JAPONISME James Abbott McNeilWhistler The Princess from the Land of Porcelain oil on canvas 1863-65
- 72. JAPONISME Henri Toulouse-Lautrec Reine deJoie Chromolithograph 1892
- 73. JAPONISME The colorharmonies, simple designs, asymmetrical compositions, and flat forms of Japanese wood block prints strongly influenced the composition of Impressionist & Post-Impressionist art, graphic design and even industrial products.
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