impression sunrise by claude monet characteristics modalism
Livingstone said that this caused the painting to have a very realistic quality, as the older part of the visual cortex in the brain — shared with the majority of other mammals — registers only luminance and not colour, so that the Sun in the painting would be invisible to it, while it is just the newer part of the visual cortex — only found in humans and other primates — which perceives colour. 
Following the defeat of France in the Franco-Prussian War of 1870–71, the regeneration of France was exemplified in the thriving port of Le Havre.  Art historian Paul Tucker suggests that the contrast of elements like the steamboats and cranes in the background to the fishermen in the foreground represent these political implications: “Monet may have seen this painting of a highly commercial site as an answer to the postwar calls for patriotic action and an art that could lead. For while it is a poem of light and atmosphere, the painting can also be seen as an ode to the power and beauty of a revitalized France.” 
Prior to Monet, art was very traditional and artists depicted their subjects accurately and in detail. Between MonetвЂ™s ‘Impression, Sunrise’ and the works of modern artists, styles have changed dramatically with artists using unusual subjects and painting in an ever more abstract fashion.
Following the exhibition, MonetвЂ™s work received very few reviews. In fact, just five reviews even mentioned his painting as other works exhibited had attracted more attention from the critics. The reviews mainly concentrated on the exhibition as a whole and the style of paintings displayed. Some, including Louis Leroy, ridiculed the style. Others supported the work and explained in the reviews that the artists were not painting landscapes; they were painting the impression that was given by the landscape.
Throughout his work, Monet maintained an imaginative grasp of the essential structure and pattern of the subject he was painting. Other artists such as Boudin, Jongkind, and Courbet had a strong influence on this ability of Monet’s, which can be recognized in his landscape paintings made during the fifteen-year span of 1865-1880. He was capable of extracting meaningful design from apparently casual scenes, thereby emphasizing the true nature of a place. This manner of illustration can be seen in Impression, Sunrise—he places an accent on the fogginess of the harbor that is created by the smoke from the steamboats, which relates to its chief status as a major trading port.
One cultural event that had an immense effect on the artwork of Monet was the Franco-Prussian War. Lasting from 1870-1871, the war was a conflict between the Kingdom of Prussia and the Second French Empire. France ultimately lost the war, marking the end of Napoleon III’s empire, and was forced to relinquish the territory of Alsace-Lorraine to Prussia. While the war only lasted a year, the results of the war were damaging to French government, society, and morale. As France began its recovery from the war, individuals began to unite for the purpose of reconstructing the nation. Monet had a heavy engagement with the revitalization of French pride and spirit, depicting his fervor in many of his paintings made at that time. In particular, his Impression, Sunrise strongly emphasizes France’s determination to rebuild and recover from the devastation of the war. Since the 1850s, Le Havre had slowly grown to become the second largest port of France. In Impression, Sunrise, Monet’s inclusion of many large ships in the painting depicts this fact. After the Franco-Prussian war, however, the harbor experienced a more steady increase in population and business. The expansion of the port was seen in the early 1870s as a testimony to France’s post-war renewal. At the time of Impression, Sunrise’s creation, Le Havre harbor was the site of many of the city’s largest and most important industries. Many indications of this fact can be found in Monet’s painting. The haziness in Impression, Sunrise is due not only to the morning mists of the channel, but also to the emissions produced by factories and steam ships. The heavy machinery noticeable in the artwork was part of a construction project that was taken up following the armistice signed between Prussia and France. Although it is hard to believe an industrialized, smoggy scene could be viewed as one of beauty, to the people of the time like Monet, this scene would have been a source of inspiration for the prosperity of the future.
Following this name change, the Impressionist movement saw a surge in popularity, with Monet at the forefront. The artist continued to capture “impressions” of his surroundings for the remainder of his life. In 1890 and 1891, he completed a series that explored the effects of light, atmosphere, and seasonal changes on Haystacks; the following few years, he applied the same treatment to a Gothic façade in his Rouen Cathedral series; and, for his most ambitious project, Monet spent 30 years creating 250 large-scale paintings of Water Lilies.
Having left such an important legacy, you may be wondering what could have set such a monumental movement in motion. Unlike most genres, which develop over time, Impressionism is believed to have to started in the 1870s with a single work: Impression, Sunrise, a light and airy landscape painting by none other than Claude Monet.
From the 15th April to 15th May 1874 Monet exhibited his work together with Camille Pissarro, Alfred Sisley, Édouard Manet, Paul Cézanne, Edgar Degas, and some other thirty artists. They organized their exhibition on their own as they were usually rejected at the Paris Salon. Most visitors were disgusted and even outraged over such a graffiti. Monet’s Impression, Sunrise enjoyed the most attention and some visitors even claimed that they were absolutely unable to recognize what was shown at all.
This famous painting, Impression, Sunrise, was created from a scene in the port of Le Havre. Monet depicts a mist, which provides a hazy background to the piece set in the French harbor. The orange and yellow hues contrast brilliantly with the dark vessels, where little, if any detail is immediately visible to the audience. It is a striking and candid work that shows the smaller boats in the foregrouna almost being propelled along by the movement of the water. This has, once again, been achieved by separate brushstrokes that also show various colors “sparkling” on the sea.