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Impressionism by 


Studies in impressionism by ; 1986


Cézanne by 


Cezanne, the early years, 1859-1872by ; 1988




Oct 7, 2019–Jan 26, 2020 The National Gallery, London; Gauguin Portraits

Oct 10, 2019–Feb 1, 2020 Whitney Museum of American Art, New York; Pope.L: Choir  

Oct 20, 2019–Jan 12, 2020 The Museum of Fine Arts, Houston, Houston; Monet to Picasso: A Very Private Collection  

Oct 20, 2019–Jan 12, 2020 The Museum of Fine Arts, Houston, Houston; Berthe Morisot: Impressionist Original  

Oct 21, 2019–Jan 21, 2020 Museum of Modern Art, New York ; Betye Saar: The Legends of Black Girl’s Window  

Oct 22, 2019–Feb 2, 2020 Museo Nacional del Prado, Madrid; Sofonisba Anguissola and Lavinia Fontana  

Oct 24, 2019–Feb 24, 2020 Musée du Louvre, Paris; Leonardo da Vinci  

October 3

1:54 Contemporary African Art Fair | London 2019 -

Art Market Budapest 2019

Frieze Art Fair | London 2019

Frieze Masters 2019

October 10

Affordable Art Fair | Stockholm 2019

October 11

ArtVerona 2019 - October 13, 2019 

October 16

Paris Internationale 2019

October 17

Affordable Art Fair | Battersea, London 2019

October 25

Art Toronto 2019

October 31

Affordable Art Fair | Amsterdam



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