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Complete Painters in the Age of Impressionism As a revolutionary movement in the field of art, Impressionism began in Paris (France) around the mid-19th century in critical response to the formal tradition of conventional art and romanticism…
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Painters in the Age of Impressionism As a revolutionary movement in the field of art, Impressionism began in Paris (France) around the mid-19th century in critical response to the formal tradition of conventional art and romanticism. The movement initially earned rejection of the Salon as the Impressionist artists in heavy opposition to government-based art policies were disallowed to proceed with public exhibitions of their paintings that had been collectively treated as the “Art of Immediacy”. Impressionists adopted a representational style which was unacceptable to the standard perspectives at the time for the chief reason that such fashion rendered works that were ‘rushed’ or that appeared to be lacking and only partly accomplished due to flexible use of brushstrokes in generating light and color which contrasted the patterns of conventionally applied rigid lines (Gunderson 51). Painters like E. Manet, E. Degas, and P. Cezanne were among the forerunners of the movement. Through the 1863-oil-on-canvas painting of “Olympia”, former realist Edouard Manet occurs to convey a personal style of exhibiting his subject of nudity which is one essential characteristic of Realism. Besides the artist’s sensual treatment of “Olympia”, the art piece may be identified as well to possess an Impressionist trait in the manner the female figure is placed at the center, seemingly far from the ideal Greek-oriented setup. For this, Manet’s work had suffered excruciating degree of criticisms from the society as it chiefly disobeyed the conventional principles of the Renaissance art. One notable detail in “Olympia” is the tailoring of the nude woman’s eyes. They evoke confidence of all that she was in a seemingly pure marble-looking complexion stroked in conflict with her portrayal of a prostitute. A black maidservant provides additional evidence by handing over a bouquet of flowers as from an admirer though the look in her eyes was traced after an accomplished harlot who would not pay immediate attention nor find meaning in such a present (Clancy 87). On the other hand, Edgar Degas is widely acclaimed for the works “The Dance Foyer at the Opera on the Rue Le Peletier” (1872) and “The Ballet Rehearsal on Stage.” Both of these paintings depict a common theme of “dance” which Degas may be observed to have fondly dealt with in most of his accomplishments. The two crafts, likewise, project an Impressionist concept based on the significance of interior and natural lighting that reflects in the outfit and spatial distribution of dancers at random positions. Contrary to the typical stage show where the ballet dancers are properly arranged and in synchronized motion, Degas opts for either painting to impress upon the public how mundane tasks and hard-work of training dance are carried out prior to the scene in which the moment of dance becomes an object of pure delight (Perry 132). Moreover, one understands the manner by which the impressionist painter optimizes with the effects of light and shade to signify time’s essence in each scenario. Similarly, Paul Cezanne’s “The Card Players” is one piece that illustrates an Impressionist notion of reflecting transient impact of light and color whereby the balanced weight allocated between its concrete and abstract visuals and the overall vividness reduces ephemeral effect. Moreover, the value of symmetry is exhibited by the bottle situated between the card players and this depicts fair distribution of order among the significant objects in space. The two men who face each other over the table in equivalent positions and some degree of contrasting shades occur to provide a view of equilibrium. Their solid forms which defy the painting’s abstract content look post impressionistic with respect to color gradations that are in creative association to human element (Katz et al, 30). Apparently, instead of using a traditional illusion, Cezanne characterizes his structure to the optimum within the space of ambiguity where he flexibly seeks or designates potential natural order. Impressionists were understood and have become recognized to this day on the basis of their purpose – that is to come up with an object or piece that creates a fleeting instant of impression as readily perceived through the naked sense of sight. Hence, majority of such artists participated in Salon de Refuses and worked in open spaces as streets where ‘plain air’ governs perception of the visual elements of nature unlike the effects formed within studio’s closed confines. With the natural concept of lighting, landscapes and other scenic spots which an Impressionist paints outdoor have gradually established innovation, bearing influence to modern art and latter movements which sought basic inspiration from even the contradicting principles of Impressionism (Brodskai?a? 22). As such, there emerged Neo-Impressionists who greatly considered the value of Pointillism and formless construction while there were also others who expressed criticism against the absence of stroke direction and order of color. References Gunderson, Jessica. Impressionism. Minnesota; Creative Education, 2009. Print. Clancy, John I. Impressionism: Historical Overview and Bibliography. New York: Nova Science Publishers, 2003. Print. Brodskai?a?, Natal?i?a? Valentinovna. Impressionism. New York: Parkstone Press International, 2011. Print. Perry, Gai. Impressionist Palette: Quilt Color & Design. California: C&T Publishing, 1997. eBook. Katz, Robert & Celestine, Dars. The Impressionists Handbook. New York: Metro Books, 1999. Print. Read More
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