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15.01.2018 Fake Kandinskys, Malevichs, Jawlenskys? Top curators and dealers accuse Ghent museum of showing dud Russian avant-garde works

15.01.2018 Artists, museum directors, scholars voice concern about Documenta’s future

15.01.2018 Sotheby's snags a fresh £36.5m Picasso for February auction in London

15.01.2018 Three to see: Condo London 2018

15.01.2018 Three to see: New York

15.01.2018 Art Thieves Target Markus Lüpertz—Again

15.01.2018 The Gray Market: The Unknown Cost of Keeping Art in Museum Storage (and Other Insights)

15.01.2018 How to Teach Art to Kids, According to Mark Rothko

 

 

Jan 27–May 1, 2018, Peggy Guggenheim Collection, Venice, Mario Marini: Visual Passions, Venice

Jan 27–May 27, 2018, SFMOMA, San Francisco, Designed in California, San Francisco

Jan 10 - 14, 2018

FOG Design+Art Fair 2018

LA Art Show 2018

Jan 11th – 14th

Palm Beach Modern + Contemporary 2018

Jan 17th – 21st

London Art Fair 2018

 

 

 

 

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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