a critic praised monets work impression sunrise by saying it had given a viewer such clarity of

In the early years of Impressionism, artists struggled to find markets for their work, and many lived hand-to-mouth. Impressionism changed when artists quarreled with one another, withdrew from exhibitions, or, like Monet and Renoir, reverted to a more Academic style they hoped would lure buyers. Cézanne also turned away from Impressionism, disappointed that he hadn’t been able “to make of Impressionism something solid and durable like the art of the museums.”
At the same time, the far-reaching Industrial Revolution fostered a new faith in the individual and his unlimited potential. Romantic painters such as Eugène Delacroix began to celebrate individuality in terms of painting technique with warm colors and vigorous brushstrokes. Delacroix’s journals would later provide ideas about color theory and painting techniques to the Impressionists. Later in the 19th century, Barbizon School painters Corot, Millet, and Rousseau abandoned classical studio themes to go outside and paint the landscape around them. Realist Gustave Courbet, a mentor to several Impressionists, painted the rural poor just as he saw them. His rough-textured technique displeased the Academy.

The painting of The Last Judgment in the Sistine Chapel includes a _____.
In Eugene Delacroix’s Liberty Leading the People, Liberty is ____

The implicit acceptance of the visual scene on which the new style was based owed something to the example of Courbet, who influenced Renoir in particular in the next few years. The plein air (“open-air”) paintings of the Barbizon painters also had an effect, but the suggestion of an art based on the notation of pure colour was suggested by several sources. The example of Eugène Delacroix had a deep significance for the 19th century in France, and the reliance on separate, undisguised touches of the brush in the form that became characteristic of Impressionism is perhaps first apparent in sketches of the sea at Dieppe painted by Delacroix in 1852. The economy of Manet’s touch in the 1860s was affected by Spanish and Dutch examples as well as by Delacroix, but his seascapes and racecourse pictures of 1864 are also important. The full Impressionistic style did not develop until the end of the 1860s.
Another possibility of Romanticism was pursued in isolation by the Marseille painter Adolphe Monticelli. The richness of his colour is thought to have contributed something crucial to Cézanne’s development. The counterpart of Moreau in Britain was Edward Burne-Jones. The intricate and perverse linear formulations that he developed from the Pre-Raphaelites greatly influenced the international Symbolist style of the last decades of the century.

modern life in cafés, museums, or the theater. Introduced to the impressionist circle by Degas, an artist who did many fascinating pictures of family and friends, Cassatt discovered that modern forms of beauty could be found in her immediate, if restricted, surroundings. A little girl just returned from school flops down on the soft armchair of her family’s elegant and well-lit sitting room. Mother is still out shopping or visiting friends in the afternoon. Colorful slipcover patterns play vividly across the canvas in a space whose foreshortening is worthy of compositional strategies used by Cassatt’s mentor, Degas. Like Degas and Manet, too, Cassatt makes reference to past art traditions through a device used by no less a master than Rembrandt to suggest an instant when privacy has been interrupted. The girl’s pet terrier, probably Cassatt’s own Yorkshire or a Griffon, lounges on the armchair next to her. Yet he faces the viewer in a way that acknowledges an outside presence and suggests the dog’s readiness to pounce and yelp should there be any unseemly movement. With her petticoats showing, this is an intimate moment and the canine sentry must be equal to its duty. Like so much impressionist work, the picture looks casual and spontaneous—with its ostensibly unposed figure and broad brushwork. Yet the careful planning needed to produce such charming effects is driven by the ambition to make the greatest art from the most ordinary and insignificant circumstances.
For many, modernity was exemplified by countryside locations, leisure, and sporting activities. These are usually the most familiar and highly prized impressionist paintings. But Monet, Guillaumin, Pissarro, and Cézanne (in his early years) included as a counterpart to leisure scenes evidence of the productivity, infrastructure, and technologies that underlay French progress in the new industrial age. Indeed, the poet Charles Baudelaire (1821–1867), while lamenting the loss of taste occasioned by the rise of the bourgeoisie and photography, urged modern artists somehow to capture the essence of their world, which for him was one of constant change, including the flow of crowded commercial avenues and socializing at sidewalk cafés. In addition, the productive energies and speed associated with factories and train travel, as in Monet’s Saint-Lazare train station series, were as much a part of the landscape of modern vision as were ladies on beaches and promenades among poppy fields. The liberal art critic Jules Castagnary actually called for a modern landscape that would reflect contemporary progress built on democratic change. And both critics urged a technique that would transcend the age-old opposition between line and color, which for centuries had been a staple of the academic discourse on art. They favored a method derived directly from actual experience. Baudelaire extolled the rapid sketching he found in the work of contemporary illustrators, especially Constantin Guys, who was known for watercolors depicting flâneurs strolling through the urban crowd. In his famous essay, The Painter of Modern Life (1863), Baudelaire made Guys’s combination of the fleeting glance and analytic sharpness of vision an ideal for the painter of modernity. There is much evidence that Manet took these ideas seriously, and through his example they were echoed in the works of impressionism.

Although Australian impressionism is often associated with landscape painting, the city was also an important subject for Roberts, Streeton and McCubbin. The trio were among the first generation of Melbourne painters to encapsulate the varied moods of urban life. Marvellous Melbourne and its grand new buildings was a fitting subject. The decade began with the Melbourne International Exhibition, which was held in the specially created Royal Exhibition Building in the Carlton Gardens. Designer Joseph Reed modelled the building’s dome on Brunelleschi’s dome for the Florence Cathedral.
About 150 works were produced for the 9 by 5 exhibition – sadly, more than two-thirds have been lost. Fifty-five of the 9 by 5 panels will be shown in the Australian Impressionism exhibition.



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