impressionist: sunrise monet composition

Impressionist: sunrise monet composition

For an interpretation of other pictures from the 19th and 20th centuries, see: Analysis of Modern Paintings (1800-2000).

• Poppy Field (Argenteuil) (1873) Musee d’Orsay, Paris.
Masterpiece of plein-air painting.

Prior to Monet, art was very traditional and artists depicted their subjects accurately and in detail. Between Monet’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, Monet’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.

Impressionist: sunrise monet composition
The hazy scene of Impression, Sunrise strayed from traditional landscape painting and classic, idealized beauty. Paul Smith suggested that with this style, Monet meant to express “other beliefs about artistic quality which might be tied to the ideologies being consolidated by the emergent bourgeoisie from which he came.” [10] Loose brush strokes meant to suggest the scene rather than to mimetically represent it demonstrate the emergent Impressionist movement. In the wake of an emergent industrialization in France, this style expressed innovative individuality. Considering this, Smith claims that “Impression, Sunrise was about Monet’s search for spontaneous expression, but was guided by definite and historically specific ideas about what spontaneous expression was.” [10]
In an interview with Maurice Guillemot for La Revue Illustrée, Monet reflected on his handling of landscape like the port of Le Havre in consideration of the movement and the 1874 exhibition: “A landscape is only an impression, instantaneous, hence the label they’ve given us– all because of me, for that matter. I’d submitted something done out of my window at Le Havre, sunlight in the mist with a few masts in the foreground jutting up from the ships below. They wanted a title for the catalog; it couldn’t really pass as a view of Le Havre, so I answered: “Put down Impression.” Out of that they got impressionism, and the jokes proliferated. ” [13]

Impressionist: sunrise monet composition
The first show, L’Exposition des RГ©voltГ©s, was held in April 1874, featuring Monet and 29 other artists. While the show was not a critical success, it was the first time Monet and his peers were referred to as “Impressionists” – although the name was meant to be insulting, the group embraced it. Monet often took the brunt of the criticism leveled at the impressionist movement, as he was its most outspoken advocate and his paintings, more than any others, captured the essence of Impressionism.
Monet has since established his place as one of the true masters of Impressionist art. Impression, Sunrise is lauded as one of the finest examples of Impressionism, exemplifying the movement as a whole through the dreamy, hazy landscape.

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.


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