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Post-impressionist prints: Paris in the 1890’s

by Ittmann, John W, 1998, Philadelphia, PA : Philadelphia Museum of Art


by Duret, Théodore, 1917, London : G. Richards Ltd. ; Philadelphia : J. B. Lippincott Company

Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection

by  Bailey, Colin B; Rishel, Joseph J, 1989, New York : Philadelphia Museum of Art in association with Harry N. Abrams


Pierre Auguste Renoir

by Frost, Rosamund, 1944, New York : Pub. by the Hyperion Press : distributed by Duell, Sloan and Pearce






Apr 13–Aug 20, 2018 Musée de l’Orangerie, The Water Lilies. American Abstract Art and the last... Paris

Apr 20–Sep 3, 2018 The Art Institute of Chicago, Helen Frankenthaler Prints: The Romance of a New... Chicago

April 4 - April 8, 2018


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miart 2018

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Art Brussels 36th


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paper positions berlin

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Salon Zürcher | New York




First Impressions

In the 1860s increasing numbers of artists, influenced by the Barbizon School, took their paints and canvases out into the French countyside. Painters including the Dutchman Jongkind and Boudin from Honfleur set up their easels on the popular beaches of Normandy. The slightest hint of a brushstroke and confluences of colours created atmospheric impressions. Boudin varied his beach scenes with distinct moods arising from the morning or evening sun. Above all, the ever -changings effects of light and colour on the water became a challenge that was eagerly met. Boudin’s student Monet titled an 1874 view of the harbour at Le Haver Impression, Sunrise. Henceforth, one critic began to mock the group of artists with whim Monet exhibited - and who , like Monet , were excluded from the Salon – as “impressionists.” While the painters who were part of the Salon judged a picture’s value by its motif, for the Impressionists , the picture’s colours and their relationship to each other were of supreme importance .The colour of objects can thus lose significance and fall victim to the general atmospheric impression. The application of colour in recognizable brushstroke shatters the outlines of objects, allowing them to melt into their surroundings, as if illuminated by a shimmering light. Shadows are no linger simpy darkness, but rather patches of blended colour.


Claude Monet , Impression, Soleil Levant, 1872, Oil on canvas , 48 × 63 cm, Musée Marmottan Monet