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16.11.2017 Leonardo's Salvator Mundi sells for $450m at Christie's New York

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Nov 23, 2017–Apr 2, 2018 TATE MODERN, MODIGLIANI, London

Nov 2 - 5, 2017

Affordable Art Fair | Amsterdam

Nov 2 - 5, 2017

The Others Art Fair 2017

Sculpture Objects Functional Art + Design Fair

Nov 3 - 5, 2017

Artissima

Nov 8 - 11, 2017

Abu Dhabi Art 2017

Nov 9 - 12, 2017

Paris Photo 2017

The Salon Art + Design 2017

Nov 10 - 12, 2017

ART021 Shanghai 2017

Nov 16 - 19, 2017

Affordable Art Fair | Hamburg

Nov 17 - 19, 2017

Affordable Art Fair | Singapore 2017

ART DÜSSELDORF 2017

Nov 23 - 26, 2017

Art Thessaloniki 2017

Nov 23 - 26, 2017

Cologne Fine Art 2017

 

 

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

Books
     

Whistler

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

 

 

Post-impressionist prints: Paris in the 1890’s

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

 

 

Pierre Auguste Renoir

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

 

 

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