The Start of Impressionism

Impression, Sunrise (Impression,soleil levant) by Claude Monet 1872

Depicted in the harbor of Le Havre in France, this painting launched the Impressionist era. The word impression originally derived from the harsh review of a critic writing for the Le Charivari newspaper taken from Monet’s title work Impression, Sunrise the critic inadvertently coined the new term.

Below is an excerpt of Claude Monet’s explanation of how he came to name the above works and the critics response to this new style of painting.

“Landscape is nothing but an impression, and an instantaneous one, hence this label that was given us, by the way because of me. I had sent a thing done in Le Havre, from my window, sun in the mist and a few masts of boats sticking up in the foreground. … They asked me for a title for the catalogue, it couldn’t really be taken for a view of Le Havre, and I said: ‘Put Impression.’ ^[1]

It was first displayed in 1874^[2] during the first independent art show of the Impressionists (who were not yet known by that name). Critic Louis Leroy, inspired by the painting’s name, titled his hostile review of the show in Le Charivari newspaper, “The Exhibition of the Impressionists”, thus inadvertently naming the new art movement. He wrote:

Impression—I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it … and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape.” http://en.wikipedia.org/wiki/Impression,_Sunrise

When I read the critics words it truly made me cringe for Claude Monet who lived this pivoting moment in the Impressionist movement. I wonder what Monet was thinking, what was he feeling…when he first learned of this review. Regardless, it is Claude Monet’s name that is widely recognized from the Impressionist era and what was that critic guy’s name again?

Please note the following artists and their works.

Impressionist artist Frederick Childe Hassam 1869-1935

San Pietro, Venice Completion Date: 1883  Genre: Cityscape

I selected some of Frederick Childe Hassam works because his name was unknown to me, unlike Claude Monet’s or other well-known Impressionists and their works. Notice the San Pietro, Venice painting with its asymmetrical shapes of the tall buildings with the horizontal lines in the land, water and sky.

His shift towards Impressionist paint began through the 1890’s, he became known as an “extreme Impressionist” himself. He was also known for his  “flag and window series” should you want to learn more about his art pieces be sure to access the link I provided below.

As art appreciation, concerning the Impressionists style I tend to have some negative feelings about the Impressionist subject matter. I can appreciate the prismatic colors, the landscapes, the broken brush strokes and use of impasto, the illumination of light and the use of creating shadows by using color instead of neutral, black or grays. For myself, I feel the Impressionist’s style is painted as an observer, watching a crowd, an activity or particular person(s) from a distance;  feels distant, and a bit boring, captured in a fleeting and airy moment. Despite my personal opinion, I can still remember Claude Monet’s name…and what was that newspaper guy’s name?

Below are two High Renaissance paintings for comparison. Painted in the pyramid composition style which focused on the main image depicted in the center and was often flanked on either side with parallel weighted forms.

Renaissance painter, Giovanni Bellini

Madonna of the Meadow (Madonna del Prato)

Completion Date: 1505, Style: High Renaissance  Genre: religious painting

From the top of Madonna’s head begins the point to form the pyramid and her left and right sides are slightly downward creating angled lines , the cropped bottom line is defined cross wards forming the complete pyramid.

Another example of Giovanni Bellini works is shown below in the Renaissance pyramid format notice the similar weights that flank the image, unlike the Impressionist’s asymmetrical style.

Sacred Conversation Style: High Renaissance  Genre: religious painting

Impressionist painters commonly used casual everyday life events captured in a moment as if a photographer snapped a photo of the image. Not only were these painters known for asymmetrical designs they also used high horizontal lines and plunging perspectives as well.

Below are two other examples of the Impressionist’s use of high horizontal line composition and plunging perspective.

Duck lsland  By artist Frederick Childe Hassam

Completion Date: 1906, Style: Impressionism, Genre: marina

Note the horizontal line in the distance and the compositional balance of the asymmetrical rocks on the parallel sides of this painting.

The Holly Farm By artist Frederick Childe Hassam

Completion Date: 1902, Style: Impressionism, Genre: landscape

Notice the high horizontal lines of the roofline, the plunging perspective of the courtyard and balanced asymmetrical trees on the opposites sides of the painting.

A Back Road By artist Frederick Childe Hassam

Style: Impressionism, Genre: landscape 1884

This last piece ties so many of the elements of an Impressionist painter’s style. For example in the distance there’s the tree line on top the hill,(high horizontal line) meeting in the middle is the (perspective plunge) in the dirt road and parallel within the painting is the (asymmetrical) trees and the ruts in the road.

Oh, by the way what was that newspaper critic’s name again? Claude Monet no that was the Impressionist ….

http://en.wikipedia.org/wiki/Impression,_Sunrise

http://www.paintingmania.com/back-road-162_12963.html

http://www.wikipaintings.org/en/childe-hassam/san-pietro-venice

http://www.wikipaintings.org/en/giovanni-bellini/madonna-and-child-1490-1

http://www.florencegriswoldmuseum.org/learning/foxchase/html/about_impressionism.php

Napolean in His Study

Artist Jacques Louis David 1748-1825

Jacques Louis David is recognized for his stark, linear paintings, many of his subjects were often portrayed as stern or serious (austere). His pieces were usually associated with moral messages or themes His art is usually connected with the French Revolution. The above art piece is a prime example of his style and period. Although, Napolean in His Study was after the French Revolution.  A time period when Napolean was serving as a mility and civic leader, in a sense this is a piece of propaganda art. For example, present day campaigns or  Presidents speeches circulate through the media, print and internet and sometimes in art (usually as a caricature ). Napolean’s publicity was in a form of art, such as this iconic image.

I chose this piece for all its subtle symbolism, notice the lion table decoration? this is often associated with great civilizations. Napolean’s military  qualities of strength and leadership are shown wearing his uniform, his medal (legion of honor) is pinned  on his uniform, the gold epaulettes on shown on his shoulders reminds  one of his military status. The clock shows 4:13, it is not clear what time of the day it is (morning or evening) when he is shown here working in his study for the people of France. The scroll on his desk has the letters C O D with a hint of the letter E, this is the Napolenic Code, which became the legal standards in law for France, many of these laws are still followed in France. (Law Giver) Napolean is grasping a gold-colored object, it is not clear what it is, possibly an official seal? They is a gold-handled sword, quite possibly a prop to symbolize his military achievements and power. A scroll lies on the floor, look closely it has the artists name and date on it, could it be another type of advertisement for the artist? A book lays on the floor as if gently tossed, it is a copy of Plutarch’s Lives. This book is a list of who’s who, such as past powerful generals.  The book is near Napolean’s feet, could it be a symbol that he is greater than the others before him? The fabric on the chair also resembles and upside down fleaur-de-lys, a type of lily that was associated with the French monarchy. Is this a message that France is no longer ruled by a monarch? The wrinkled carpet’s appearance is as if Napolean was interrupted and had scooted his chair away from the desk to stand. Was the message that he was tirelessly working into the late evening or early morning for the people of France. Lastly, his hair is a bit tousled as if he had been heavily  in thought and planning, quite possibly for France’s future?

Art and architecture during the 18th century was noticeably defined in the classical era. Music during this period was not as clearly defined. As the growing audience began to transform from aristocratic patrons (Baroque/Rococo) to middle class listeners music transitioned from a Polyphonic style to the  Homo-phonic texture.  This music was less complex than the Baroque’s “gallant style.” Composers grew  independent  from the aristocratic hold and began to share their music on the public platform, thus changing the overall sound to meet the new audiences listening style.

Source: http://www.nga.gov/kids/napoleon/nap3.htm

The Night Watch

The Night Watch is colossal. In its original dimensions it measured approximately 13 by 16 feet and contained not only the 18 guardsmen but 16 other figures added by Rembrandt to give still more animation to an already tumultuous scene. It was by far the most revolutionary painting Rembrandt had yet made, transforming the traditional Dutch group portrait into a dazzling blaze of light, color and motion, and subordinating the requirements of orthodox portraiture to a far larger, more complex but still unified whole. In Rembrandt’s hands what was, after all, a commonplace affair became filled with Baroque pictorial splendor, loud with the sound of drum and musket, the thud of ramrods, the barking of a dog, the cries of children. In the forefront Captain Banning Cocq – in black, with a red sash – and his lieutenant in yellow lead the forward drive of the still unformed ranks. The sense of movement is reinforced by converging diagonal lines: on the right, the foreshortened spontoon in the lieutenant’s hand, the musket above it and the lance still higher; and on the left, the captain’s staff, its line repeated above by another musket and the banner. The effect on the viewer is direct; he feels that he had best get out of the way.

I chose this painting for its unusual size 13by 16 feet,  I can only imagine how grand it is to stand before this mass painting.  It has three main characteristics, its massive size, the use of light and shadow (chiaroscuro) and it shows motion.  Amongst the crowd one’s eye is drawn to three people. the first two gentleman are in the center, note there is a small girl wearing the yellow dress near the center left in the background.  In reading, about this famous painting I learned that the color yellow meant victory. A total of 34 figures are in the painting. The painting seems to have a celebratory atmosphere, I was drawn to the rich red colors and the use of the light and dark shadows that create a sense of movement. Notice the direction of the shadow on the Captain’s hand crossing over to the lieutenant and then the shadow of the Captains foot is at a different angle.

Sources
https://en.wikipedia.org/wiki/The_Night_Watch
http://www.rembrandtpainting.net/rembrandt%27s_night_watch.htm

Renaissance

One of the most revolutionary occurrences during the 16^th century was the Protestant Reformation. The Ninety-Five Theses writings of Martin Luther King related to the over indulgence of the Church and he put in question the entire theology and structure of the Church.

These writings came at a time when the Papacy’s increasing wealth, the negligence of the clergy, corruption and indulgence was rampant within the Church. The Papal lived in luxury while many others lived in squalor. The people began to question the Church’s spiritual leading and the growing wealth.

Imagine the inner turmoil of the many people living in this time period those who weighed their own religious beliefs between salvation and their fate

The people began to seek answers for a new spiritual link to a religion that would connect them on a deeper personal level. Hence, the Protestant Reformation, Martin Luther and John Calvin both represented the start and second wave of the Protestant Reformation.

Art before the Reformation period reflected religious subjects and some came with ominous messages.

 For example, artist Albrecht Durer’s Four Horsemen of the Apocalypse, 1497-98, woodcut. Death, War, Pestilence, and Famine are riding above the secular groups.

During and after the Protestant Reformation art shifted towards, history painting, landscape, portrait and still life painting. Flemish painter’s Pieter Bruegel’s The Peasant Wedding, gives insight of a Flemish Peasant’s wedding. There is no reference of a religious theme or symbolism in this painting. Unlike, Jan Van Eyck’s painting “The Arnolfini Portrait.

Jan Van Eyck
(Flemish)

Jan van Eyck was important not only to the northern Renaissance, but to the entire Renaissance. He is credited with the invention of the oil-glazing technique, which replaced the earlier egg-tempera method. In the early years of the Renaissance, the artist generally began with a monochromatic drawing using egg tempera on a wood panel, and then layers of oil-glazes were painted on top of it. This allowed for rich details and luminous colors (later artists would work directly in oils on canvas, allowing the paintings to become larger and lighter, without warping or insect infestation). Whether or not Van Eyck was actually the first person to use this new medium may be of secondary importance to the achievements of his work, for he was truly a master of meticulous detail and well-planned compositions.

Jan van Eyck, Arnolfini Wedding, 1434

Arnolfini Wedding (wall detail)

The Marriage of Giovanni Arnolfini, commonly called the Arnolfini Wedding, is van Eyck’s most famous work. The subject is obvious, given the pose of the couple. It may, however, be confusing to the modern viewer that he chose to portray them in their bed chamber, instead of in a church. Here, it is necessary to keep in mind that everything portrayed in this picture has symbolic meaning. The fact that the woman appears to be pregnant is symbolic of the holy purpose of their matrimony of bringing children into the world. This also explains the choice of the color of her dress (green representing fertility), and the fact that she is pulling her dress up in the front (signifying that she is willing to bear children). Other specifically symbolic imagery includes the dog who stands between them (fidelity to each other; loyalty to God), the sandals which have been removed (signifying that they are standing on holy ground), and the single candle in the candelabra (the presence of Christ in their union). A detail of the back wall reveals a convex mirror which reflects their backs and two other persons (probably the priest and the artist). A signature above which says “Jan van Eyck was here” testifies to the artist’s presence during the ceremony, and it is possible that the purpose of the painting is partly a matter of documenting the legality of their matrimony. Sources: http://robinurton.com/history/Renaissance/northrenaiss.htm

http://academicdecathlon.wikispaces.com/file/view/Italian+and+Northern+Renaissance.pdf

http://www-student.unl.edu/cis/hist100w05/online_course/unit3/lsn09-tp03.html

http://en.wikipedia.org/wiki/The_Reformation_and_art

http://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer