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Impressionism by 


Studies in impressionism by ; 1986


Cézanne by 


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




Nov 3, 2019–May 17, 2020 Los Angeles County Museum of Art, Los Angeles, Julie Mehretu

November 1 - November 5, 2019

TEFAF | New York 2019

November 7

ART021 Shanghai Contemporary Art Fair 2019

Paris Photo 2019

November 14

Affordable Art Fair | Hamburg 2019 2019

The Salon Art + Design 2019

November 15


November 21

Cologne Fine Art 2019

November 22

Affordable Art Fair | Singapore 2019



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