Summary
Highlights
In the 1800s, art was dominated by grand historical and mythological themes, as showcased by the conservative Paris Salon. Impressionists, however, sought independence from these artistic expectations. Led by artists like Claude Monet, Edgar Degas, and Pierre-Auguste Renoir, they formed "the anonymous society of painters, sculptors, and print makers" and organized their own exhibitions, with the first held in 1874. The term "Impressionism" originated from an art critic's dismissive comment about Monet's 'Impression, Sunrise', calling it an 'impression' and 'unfinished'.
Impressionist works were a stark contrast to academic painting, characterized by their casual and informal style, loose brushstrokes, and a deliberate move away from realistic replication. They favored depicting modern life and the bustling urban environment of 19th-century Paris. Artists often painted outdoors ('en plein air') using smaller, portable canvases. They also experimented with light and color, notably in Monet's Rouen Cathedral series, demonstrating how different times of day and weather conditions alter perception. The use of new synthetic tube paints allowed for vibrant, unblended complementary colors, with minimal use of dark tones or black (as famously highlighted by Georges Clemenceau at Monet's funeral).
Impressionist paintings frequently showcased the leisurely activities of the burgeoning middle class in French society. Scenes of swimming, boating, cafes, and opera attendance were common. Renoir's 'Bal du moulin de la Galette' exemplifies this, capturing vibrant social interactions in bohemian Montmartre with sunlit, lively colors. Artists like Renoir and Cassatt depicted the audience at the theater, highlighting the social aspect of these outings, while Edgar Degas focused on the backstage world of ballerinas, often revealing the harsh realities of their lives and his own complex relationship with them.
Women Impressionists, such as Berthe Morisot and Mary Cassatt, played a significant role, focusing on the lives of bourgeois women. Coming from wealthy families themselves, they depicted private spaces and domestic subjects that were accessible to them due to societal gender roles. Morisot's 'The Cradle' (1874) and Cassatt's 'Little Girl in a Blue Armchair' are prime examples of their intimate portrayals of family life and childhood.