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Post-impressionist prints: Paris in the 1890’s

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

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

 

Pierre Auguste Renoir

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

 

 

 

 

 

Feb 1–May 27, 2018

Louisiana Museum of Modern Art, Picasso Ceramics, Humlebaek

Feb 2–May 13, 2018

Guggenheim Bilbao, Henri Michaux: The Other Side, Bilbao

Feb 2–Jun 3, 2018

Haus der Kunst, Kiki Smith: Procession, Munich

Feb 1 - 4, 2018

artgenève 2018

PAD Genève Art + Design

Feb 2 - 5, 2018

Arte Fiera Bologna 2018

Feb 6 - 11, 2018

Art Rotterdam 2018

Feb 7 - 11, 2018

Qade Solo Project Rotterdam 2018

Rotterdam Contemporary 2018

ZONAMACO

Feb 8 - 11, 2018

Haute Photographie 2018

India Art Fair 2018

Material Art Fair, Vol. 5

Feb 15 - 19, 2018

Art Wynwood

Feb 16 - 18, 2018

Art Palm Springs 2018

Cape Town Art Fair 2018

Feb 20 - 25, 2018

JUSTMAD 2018

Feb 21 - 25, 2018

ARCOmadrid 2018

Art Madrid 2018

Feb 21 - 25, 2018

PHOTOFAIRS San Francisco 2018

Feb 23 - 25, 2018

1:54 Contemporary African Art Fair Marrakech 2018

Feb 24 - 25, 2018

The Art Show

Feb 27 - Mar 4, 2018

Moving Image

 

 

 

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

 

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