impressionism and post impressionism

Impressionism
• The Impressionist movement led the way for a variety of others, including Neo-
impressionism, Post-impressionism, Fauvism, and Cubism.
• attempt to avoid the realistic depiction of photographs and capture the
emotional spontaneity
– Primarily done through bright colors and broad, thick brushstrokes
• Favored lighting over detail, looking for the
unfinished look
– Spontaneous creativity unbound by social conventions
• Started by a group of artists whose work was rejected by The Salon (the annual
government- sponsored art exhibition in Paris)
• first Impressionist exhibit was in Paris in 1874

The Salon style of
academic painting
• Painted like the Old
Masters
• Primarily painted historical scenes
or portraits
• Portrayed the wealthy aristocrats
• Were staged sittings
•William Adolphe Bouguereau,
“The Rest” (1879)

Impressionism
• In 1874 French art critic Louis Leroy
coined the term “impressionist” in a
satirical review of a private exhibition of
paintings by a group called The
Anonymous Society of Painters, Sculptors,
Engravers, etc.
– Leroy was prompted to use this term in part..
by a modest harbor scene, Impression,.
Sunrise (1873) by Monet
– The term “impressionist” struck Leroy as an
appropriate description of the loose, inexact
manner of painting

Impressionism
• Group consisted of:
• Edouard Manet (1832-1883) -- French
• Pierre-Auguste Renoir (1841-1919) -- French
• Claude Monet (1840-1926) -- French
• Edgar Degas (1834-1917) -- French
• Camille Pissarro (1830-1903) -- French
• Berthe Morisot (1841-1895) -- French
– The group started to meet in 1866 in cafes
throughout Paris
• Paris at this time was art capital of the world

• Impressionist artists felt the new technology of Photography was
ruining the art of painting. They felt the need to create a new
style of painting in which accurate rendering of the subject was
not the main focus.
• The Impressionists changed the approach to painting, by
recreating the sensation in the eye that views the subject, rather
than recreating the subject.
• The public, at first hated the paintings, then gradually came to
believe that the Impressionists had captured a fresh and original
vision. The art critics of that time, continued to disapprove
calling the paintings unfinished sketches.

Characteristics of Impressionist Impressionist
painting include: painting include:
• Visible brushstrokes
• Light Colors
• Emphasis on Light and the changing qualities of it
• Ordinary Subject Matter
• Unusual Visual Angles
• Open Compositions

Haystack - Morning
Haystack - Mist
The Changing Qualities of Light

• Manet worked in Couture's studio until 1856 when he
opened his own. Manet then went on to reject the
teachings of Couture and worked in his own style.
Manet did not like to layer his paints and preferred to
work from subject matter that was directly in front
of him and it was this painting style that went onto
influence the Impressionist artists' work.
• In the early 1860s Manet submitted a number of
paintings, such as Olympia and The Luncheon on the
Grass to the Salon jury. These were unfortunately
rejected and the artist was left despondent, due to
his belief that an artist had to have their work
accepted into the Salon in order to be deemed
successful.
• In 1868 Manet was introduced to the artist Berthe Morisot and the two quickly
became firm friends. Through Morisot, Manet was introduced to the other
Impressionists, who he was soon considered to be a leader of although he never
joined their art shows.
• With the Prussian war approaching Manet joined the army and evacuated his family from the city. During this
period his art production came to a standstill. Manet became ill in 1879 and eventually passed away in 1883.
• Édouard Manet Style and Techniq

The Romans in their Decadence (1847) (THOMAS COUTURE)

Who or What Influenced Édouard Manet
• Thomas Couture
• Spanish artist Velazquez
• AugusteRubens

Édouard Manet Style and Technique
• alla prima style
• Using thick lines and dark colors
• Highly influenced by the growth of photography
• strongly contrasting tones that appear to be one-dimensional
• Parisian city life and contemporary urban themes.
• Influence of the Japanese prints of the time.
• liked to use black
• add white to his colors to brighten them as well as using bold colors directly from the
paint tube
• heavier applications of oil paint on his main subject and thinner layers in the
background and in less significant areas
• patches of color — to mix optically in the viewer's eye rather than on the canvas.
• Spanish painter influenced

The absinthe
drinker
Edouard Manet
•Date: 1859;
Paris, France .
•Style: Realism
Boy with a
sword
Edouard
Manet
•Date: 1861;
Paris, France
Style:
Realism

Music in the
Tuileries Garden
Edouard Manet
•Date: 1862;
Paris, France

The spanish
ballet
Edouard Manet
•Date: 1862; Paris,
France Places are
defined in terms of
modern geography.
•Style: Realism
•Genre: genre
painting
•Media: oil, canvas
•Location: Philips
Collection,

Young Woman Reclining in
Spanish Costume
•Edouard Manet
•Date: 1863; Paris, France
•Style: Realism
•Genre: portrait
Yale University Art Gallery (Yale
University), New Haven, CT, US

The Luncheon on the
Grass
Edouard Manet
•Original Title: Le déjeuner
sur l'herbe
France Places are
defined in terms of
modern geography.
•Style: Realism
•Genre: genre painting
•Media: oil,
canvasLocation: Musée

Olympia
•Edouard Manet
•Date: 1863
•Style: Realism
•Genre: nude
painting (nu)
•Media: oil,
canvas
•Location: Musée
d'Orsay, Paris,
France
•Dimensions:
The Birth of Venus

• Zacharie Astruc introduced the young landscape painter Monet to his friend Manet.
Battle of Kearsage and Alabama
Edouard Manet
•Date: 1864; Paris, France Places are defined in terms of
modern geography.
•Style: Realism
•Genre: battle painting
•Location: Philadelphia Museum of Art, Philadelphia, PA,
US

The Dead Christ with
Angels
Edouard Manet
France Places are defined
in terms of modern
geography.
•Style: Realism
•Genre: religious painting
•Location: Metropolitan
Museum of Art (Met), New
York City, NY, US

The dead toreador
Edouard Manet
•Original Title: Le
Toréador Mort
France
•Style: Realism
•Genre: genre
painting
•Tag: birth-and-
death
•Dimensions: 76 x
153.3 cm

The Fifer
Edouard Manet
•Style: Realism
•Genre: portrait
•Location: Musée d'Orsay, Paris,
France
•Dimensions: 161 x 97 cm
• Air rendering
• Léon Leenhoff

Still life with melon
and peaches
Edouard Manet
France
•Style: Realism
•Genre: still life

The new Universal Exposition in 1867
• Temporary shelter next to Courbet’s exhibition at the
corner of avenues Montaigne and Alma
• Manet was interested in the history of his own era, rather
than subjects from antique mythology and the Bible,as
was the practice at the Ecole des beaux-arts and the
Salon.
The burial
Edouard Manet
•Date: c.1867; Paris, France Places
are defined in terms of modern
geography.
•Style: Realism
•Dimensions: 72.7 x 90.5 cm

the subject
was later
taken up by
Impressioni
st Edgar
Degas
Races at Longchamp
Edouard Manet
•Date: c.1867; France
•Style: Impressionism
•Location: Art Institute of
Chicago, Chicago, IL,
US
•Dimensions: 43.7 x 84.5
cm

Portrait of Emile Zola
Edouard Manet
•Style: Realism
•Genre: portrait
•Location: Musée d'Orsay, Paris, France
•Dimensions: 146.5 x 114 cm

Luncheon in the Studio
Edouard Manet
•Location: Neue Pinakothek,
Munich, Germany
•Dimensions: 118 x 153.9 cm
• Léon Leenhoff

The Execution of the
Emperor Maximilian of
Mexico
Edouard Manet
•Original Title: L'Execution de
Maximilien
•Style: Realism
•Genre: history painting
•Media: lithography
•Location: Clark Art Institute,
Williamstown, MA, US

The Balcony
Edouard Manet
•Style: Realism
France

Almonds, currants and
peaches
Edouard Manet
•Tag: fruits-and-vegetables
•Location: Private Collection

In the garden
Edouard Manet
•Tag: family-portraits, leisure-
and-sleep

The Barricade (Civil War)
Edouard Manet
•Style: Realism
•Genre: sketch and study
•Media: ink, watercolor, paper
In 1870 napoleon ||| declared war against prussia

Seascape at Arcachon
(Arcachon, beautiful
weather)
Edouard Manet
•Date: 1871; Arcachon,
France
•Genre: marina
•Location: Private
Collection
cm

Berthe Morisot with a Fan
Edouard Manet
•Date: 1872; Paris, FranceStyle:
Realism
•Genre: portrait
•Media: oil, canvas s
France
Berthe Morisot with a bouquet of
violets
Edouard Manet
• Style: Impressionism
•Genre: portrait
France

Railway
Edouard Manet
•Original Title: Le Chemin de fer
•Location: National Gallery of Art,
Washington, DC, US

The Masked Ball at the
Opera
Edouard Manet
•Date: c.1873; Paris, France
• Style: Impressionism

Swallows
Edouard Manet
•Original Title: Hirondelles
France

Argenteuil
Edouard Manet
•Date: 1874; Argenteuil / Argenteuil-
sur-armançon, France Style:
Impressionism
•Location: Musée des Beaux-Arts
Tournai, Tournai, Belgium

Boating
Edouard Manet
Style: Impressionism
•leisure-and-sleep

Monet in his Studio Boat
Edouard Manet
•Original Title: Monet dans son
bateau atelier
•Date: 1874; France
•Location: Neue Pinakothek,
Munich, Germany

The Monet family in
their garden at
Argenteuil
Edouard Manet
•Dimensions: 61 x 99.7
cm

At the races
Edouard Manet
•Media: oil, wood

The grand canal of Venice
(Blue Venice)
Edouard Manet
•Date: 1875; Venice, Italy
•Genre: cityscape
•Location: Shelburne Museum,
Shelburne, VT, US

The Grand Canal
Edouard Manet
•Date: 1875; Venice,
Italy
•Genre: cityscape
•Dimensions: 57 x 48

Stephane Mallarme
Edouard Manet
•Genre: portrait
France

Head of a Dog
Edouard Manet
•Style: Realism
•Genre: animal painting

Nana
Edouard Manet
•Genre: portrait
•Location: Kunsthalle Hamburg,
Hamburg, Germany

Self-portrait with skull-
cap
Edouard Manet
•Genre: self-portrait
•Location: Bridgestone
Museum of Art, Tokyo,
Japan
Self Portrait with a Palette
Edouard Manet
•Original Title: Autoportrait
avec Palette
•Location: Steven A. Cohen
Collection, Greenwich, CT,

Woman Reading
Edouard Manet
•Original Title: Le journal illustre
•Location: Art Institute of Chicago,
Chicago, IL, US

Corner of a Cafe-Concert
Edouard Manet
•Location: National Gallery,
London, UK
cm
Bundle of
aspargus
Edouard Manet

The Garden at Bellevue
Edouard Manet
France
•Genre: landscape
Collection

The Suicide
Edouard Manet
•Original Title: Le Suicidé
•Date: c.1880; Paris,
France
•Location: E.G. Bührle
Foundation, Zürich,
Switzerland

Rochefort's Escape
Edouard Manet
•Original Title: L'Evasion de
Rochefort
•Genre: marina
France

A Corner of the Garden in Rueil
Edouard Manet
•Style: Realism
•Genre: cityscape
•Location: Musée des Beaux-Arts de
Dijon, Dijon, France

Flowers in a
Crystal Vase
Bouquet of flowers
In 1882

A Bar at the Folies-
Bergere
Edouard Manet
•Original Title: Un bar
aux Folies Bergère
France
•Location: Courtauld
Institute of Art, London,
UK, Courtauld Gallery,
London, UK

Head of Jean-Baptiste
Faure
Edouard Manet
France
•Style: Realism
•Genre: portrait

Two roses on a tablecloth
Edouard Manet
France
•Style: Realism

Artist's atelier
Edouard Manet
•Style: Realism

incident of his life
Drew portraits
Mr Eugène Boudin
Dutchman Jongkind
(first mentors)
Drawing caricatures
L’Académie Suisse private school
Meeting with (Camille Pissarro) ,paris
The time for military service
(Algeria with the African regiment)

Parisian painter, Auguste Toulmouche
Charles Gleyre ’s studio
(Pierre Auguste Renoir, Alfred Sisley, and Frédéric Bazille)
Apartment with a studio at Place Furstenburg
(Meeting place)
Charles Gleyre Les Bacchantes
Vanity (1890)

Monet’s landscapes small village of Chailly-en-Bière
the-pave-de-chailly (1865)
Numa Pompilius and the nymph Egeria(1625-1628
Poussin’s paintings
*They had stopped attending Gleyre ’s studio, and together they now left to work in the
region favoured by the Barbizon School painters, (the Fontainebleau forest)
Constructed using the golden section, they are harmonious, balanced, and impeccably composed

In 1865 at Chailly
Luncheon on the Grass at Musée d’Orsay

Manet’s Luncheon on the Grass
the-improvised-field-hospital-1865
Frederic Bazille
Claude Monet, (The Luncheon on the Grass), 1866. Oil on canvas, 130 x
181 cm. The Pushkin State Museum of Fine Arts, Moscow
• Female model - Camille Doncieux
• Male model - Frédéric Bazille
In the studio at Place Furstenburg

Claude Monet, Camille ( Woman in a Green Dress), 1866.
Oil on canvas, 231 x 151 cm. Kunsthalle Bremen, Bremen.
The Luncheon, 1868, Städel, which features Camille
Doncieux and Jean Monet, was rejected by the Paris
Salon of 1870 but included in the first Impressionists'
exhibition in 1874
Women in the Garden, 1866–1867,
Musée d'Orsay, Paris

Series of landscapes at Sainte-Adresse in 1867
Regattas at Sainte-
Adresse in 1867 (New York,
The Metropolitan Museum
of Art)

Terrace at
Sainte- Adresse in
1867 (New York,
The Metropolitan
Museum of Art)

Woman in the
Garden in 1867 (St
Petersburg, The State
Hermitage Museum)
Cousin Lecadre ’s wife to pose

• In 1868 he finally married Camille Doncieux
• During the Franco-Prussian war and the Paris Commune he stayed in England. In London Monet met Pissarro and
Charles-François Daubigny. Paul Duran-Ruel himself passed through London during the war period, and Daubigny
introduced him to Monet. From that moment and for many years onward, Durand-Ruel would be Monet’s dealer
and loyal supporter.
• at theend of 1871, Monet and his family returned to France, they moved to the banks of the Seine, at Argenteuil.
• In 1871-1872 Monet’s landscapes were not yet characterised by great richness of colour. Rather, they recalled the
tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on
yellow-brown or blue-grey.
• Monet discovered the miracles of colour, and his eye captured its nuances more and more closely. Following
Daubigny’s example, Monet built a floating studio for himself.
• He painted hundreds of landscapes there that virtually paved the way for the impact his paintings would have at
the time of the first exhibition in 1874.
The_Seine_at_Argenteuil Studio Boat by Claude Monet

Seine, Petit Genevilliers by Claude Monet
Seine at Rouen by Claude Monet
las-orillas-del-sena

The Seine at Argenteuil, 1873
 Broken brushstrokes of colour.
 Pure or mixed with white.
 Rapidly applying paint to canvas
 Completing the painting entirely
in the open air.

Regattas at Argenteuil (Paris, Musée d’Orsay)
Oil on canvas ,H. 48; W. 75 cm
• colours in thick
strokes with a brush
or a palette knife.

Claude Monet, Lilacs in the Sun, 1873. Oil on canvas, 50 x 65 cm. The Pushkin
State Museum of Fine Arts, Moscow.
 Hazy heat(an effect of very hot sun)
rendered in a painting .

In January 1874 he travelled to his cherished village of Le Havre and moved into the Hotel de l’Amirauté , near the port
From his window he could see the port’s ceaseless activity, the waiting-lines at the ticket windows, the cases being piled high, and the boats departing.
The Grand Dock at Le Havre
1872 61x81cm Oil on canvas
Hermitage, St. Petersburg, Russia
• composed after the Japanese system of perspective

Claude Monet, Impression, soleil levant
(Impression, Sunrise), 1872, oil on canvas,
Musée Marmottan Monet, Paris.
• His aim was not to create an
accurate landscape, but to record
the impressions formed while
looking at that landscape
• The horizon has disappeared and the
water, sky, and reflections have all
merged together
• Monet depicts a mist, which provides a
hazy background to the piece set in the
French harbour
• feeling produced by the motion of the
sea
• heavy emphasis on natural light
This landscape, called Impression, soleil levant (Paris, Musée Marmottan) would decide the fate of the exhibition’s
participants. They became “Impressionists”, and Claude Monet was unanimously designated head of the group.

Claude Monet, Le Boulevard des Capucines, 1873-1874. Oil on
canvas, 80 x 60 cm. The NelsonAtkins Museum of Art, Kansas City,
Missouri
• first urban landscape
• Rhythm of modern life
Another painting of Claude Monet’s was the revelation of the 1874 exhibit

• After the exhibition, Edouard Manet frequently Visited Monet in Argenteuil. He carefully observed his painting
process and painted Monet with Camille on their floating studio
The Monet Family in Their Garden at Argenteuil, 1874 Monet with Camille on their floating studio
• At difficult moments in their lives Monet and the other Impressionists were assisted by their friends. They did
not have many, but these provided both material support by buying their paintings and, more importantly, the
warmth of their friendship. Among them were the amateur painter Gustave Caillebotte

Madame Monet in a Japanese kimono, 1875,
Museum of Fine Arts, Boston
The Lunch, 1876-1877 by Claude Monet
It was exhibited in 1876 at the second Impressionist exhibition. It is possible that
this work encouraged Ernest Hoschede to commission Monet to paint panels for
his own estate.

Claude - Corner of the Garden at Montgeron(1876)
175 × 194 cm Hermitage Museum, St. Petersburg
• Monet painted four decorative panels with the park at Montgeron as his subject
for the interior of the castle
• Through an optical
phenomenon
• Juxtaposed
brushstrokes
The Pond at Montgeron in 1876
Hermitage Museum, Saint Petersburg,
Russia 173 x 194 cm

Turkeys
1876
Oil on canvas, 175 x 173 cm
• The large patch of green grass is painted without
particular detail, albeit in broken, juxtaposed
brushstrokes, and provides an ideal ground for these
white turkeys with their red beaks and necks.
This panel is the only one in which the Château
Rottembourg, in the far background

At the third Impressionist exhibition in 1877 Monet presented a series of
paintings for the first time.
• Seven views of the Saint-Lazare train station

Claude Monet, The Bridge of Europe, Saint-Lazare Station,
1877. Oil on canvas, 64 x 81 cm. Musée Marmottan, Paris

• The close of the 1870s was the most difficult period in Monet’s life. In 1878 the
family had to leave Argenteuil
• For a short time he moved to Paris, where Camille gave a birth to his second son,
Michel, but living in Paris was too expensive.
• Monet discovered Vétheuil, a charming town not far from Mantes.
• The Monet family moved there in 1878, along with Alice Hoschédé
and her six children. The youngest of them, Jean-Pierre,was born nearly at
the same time as Michel Monet. There has even been speculation that
he himself was Monet’s son because, after the painter’s stay at Montgeron, he
and Alice had begun an intimate relationship. The two youngest boys were
called “les petites”, and they appeared frequently in Monet’s landscapes
• At Vétheuil Alice helped Monet look after his children and care for Camille, who
was seriously ill. In 1879 Camille died.
• Monet painted heron her deathbed, unable to resist the pull of colour even at
such a tragic moment in his life.

“Camille on Her Deathbed” (1879)

Bouquet of Sunflowers in 188Oil on
canvas 39 3/4 x 32 in. (101 x 81.3 cm)
New York, The Metropolitan Museum
of Art.

• During all this time the painter worked
tirelessly. He painted the shapes of villages
with Gothic and Romanesque churches
reflected in the waters of the river, islands
in the Seine, and poplar trees.
• He worked in clear weather, in fog, and in
the rain with the meticulousness of a
scholar studying methods of rendering the
atmosphere in painting
• Even their constant financial difficulties
did not cast a pall over their happiness.
But because of these difficulties they were
forced to move to Poissy, not far from
Vétheuil. From a painter’s standpoint, this
new location held no attraction for Monet.
•

The Manneporte (Étretat) 1883
• Monet spent most of February 1883 at Étretat
• He painted twenty views of the beach and the three
extraordinary rock formations in the area: the Porte
d'Aval, the Porte d'Amont, and the Manneporte
Étretat sunset, 1883
Rough sea at Étretat, 1883 by Claude Monet

Falaise d’Aval a Étretat by Claude Monet 1883
The Cliff, Étretat, Sunset by Claude Monet 1883

L'Aiguille and the Porte d'Aval, Étretat
Oil on Canvas, Painting
1886
Private Collection La Porte d'Amont, Étretat
c. 1868-1869
Harvard University Art Museums
Boston, USA, North America

The Manneporte (Etretat) , 1883 by Claude Monet
1886
The Metropolitan Museum
New York, USA, North
America

In 1884 at Bordighera
The Moreno Garden at
Bordighera
Claude Monet

• Monet made his second trip through the south of France in 1888
• He stopped off at Antibes which welcomed him with a winter rainstorm
• The southern light enchanted him all over again
• This time his range of colours, based on the most delicately graded nuances of blue and pink, gave his oil painting the
look of pastel
Antibes in the morning by Claude MonetAncient fortress of Antibes by Claude Monet

• However they were not truly
a happy family until after the
death of Ernest Hoschédé in
1892. The marriage of Alice
and Claude Monet took place
at Giverny 16 July 1892.
• Ten years earlier, in 1883,
Monet had bought a house in
the village of Giverny, near
the little town of Vernon. The
house was located on the
right bank of the Seine
• At Giverny, series painting
became one of Monet’s chief
working procedures.

The haystacks became a nearly endless series in his work
• He painted them at the very beginning of
summer, on the green grass, and in winter,
with a thin layer of snow covering them
• In various combinations, his red, brown,
green, and even blue brushstrokes depicted
the way the colours change according to
the distribution of light.
• Monet was remarkably consistent in his
approach to his research. He worked like a
scholar stubbornly pursuing the objective
he had set for himself.

Monet_The_four_trees_anagoria in 1891 Monet_-_Poplars_(Autumn) in 1891
Poplars (Monet series)

Claude_Monet poplars on the epte in 1990 _Poplars_(Wind_effect) in 1891

Claude_Monet_-_Poplars_at_Giverny,_Sunrise in 1888 Poplars_in_the_Sun in 1887

At the beginning of the 1890s Monet travelled to Rouen
• Monet took a roomon rent facing the famous Gothic
cathedral.
• he began to paint the cathedral from his window. He had
meantto return to Giverny after several days, but his work
absorbed him completely.He painted the cathedral in all
weather and at all times of day or night.
• the motif in Monet’s painting wasn’t Rouen Cathedral at all,
it was the light and air of Normandy.
• In the spring of 1895 Monet opened his exhibition, where he
showed twenty variations of his Rouen Cathedral (1, 2, 3, 4).
• Monet’s practiced eye, trained by years of work, could
distinguish a vast numberof gradednuances. He created an
extremely delicate mosaic on the canvas
Rouen Cathedral, West Façade, Sunlight 1892
National Gallery of Art Washington, D.C., USA

Rouen Cathedral, red, Sunlight 1892
National Museum of Serbia Belgrade, Serbia
harmonie bleue et or 1892-1893
Musée d'Orsay Paris, France

Rouen Cathedral, Facade (sunset), harmonie in gold and blue 1892-
1894 Musée Marmottan Monet Paris, France
Rouen Cathedral, Facade and the Tour d'Albane. Grey Weather, 1894,
Musée des Beaux-Arts de Rouen

• Whenever he left Giverny Monet would most often hurry to the sea. Arriving in Brittany in
October 1886, he went to the island of Belle-Isle.
• The brushstrokes of white lead, blue, and
green create the impression of perpetually
agitated water, and of the incessant noise
of the Atlantic Ocean, which gives eerie
shapes to the shingles tossed up by its
tides.
Tempête à Belle-Ile ,1886
oil on canvas
23¾ x 29 in. (60.3 x 73.6
cm.)
Painted in 1886

Claude Monet: "Wild Coast at Belle-Ile"
(1886) -Paris, Musée d'Orsay

Woman with a Parasol,
Study of a Figure Outdoors,Facing Left
1886 131x88cm oil/canvas
Musée d'Orsay, Paris, France
Woman with a Parasol, Facing Right
or Study of a Figure Outdoors,Facing Right
Musée d'Orsay, Paris, France

• During the years between 1899 and 1905, Monet travelled to London to capture its sights from the fifth-floor balcony of the
Savoy Hotel. Monet was captivated by the London fog, a notable atmospheric effect made markedly worse by the heavy pollution of
the Industrial Revolution. He painted the Houses of Parliament, Waterloo Bridge and Charing Cross Bridge over and over, as he had
earlier done with haystacks and Rouen Cathedral, dashing off paintings to capture fleeting atmospheric effects. He was extremely
prolific, beginning nearly 100 paintings in London. Thirty-seven of the canvases were of Charing Cross Bridge, only twelve of which
he finished in London; the rest he took back to his Giverny studio for completion.
Charing Cross Bridge, 1899, Thyssen-Bornemisza Museum Madrid
Charing Cross Bridge, 1899, Thyssen-Bornemisza Museum Madrid

Parliament in London – Stormy day, ca. 1904 Houses of Parliament, stormy sky, 1904,
Palais des Beaux-Arts de Lille, Lille, France

Parlement, coucher du
soleil (sunset), 1902,
private collection

• Monet painted 37 works of Venice which he began
during his stay in the city in 1908. These include a
series of canvases of the Grand Canal. He had the
habit of studying the same subject in a varying
light, at different times of the day, which resulted
during his career in many distinct series, like for
example the Water Lilies series, Poplar series,
Rouen Cathedral series, Haystacks series and
Charing Cross Bridge series.
• During his stay in Venice, Monet's accommodation
was on the Grand Canal, firstly in the Palazzo
Barbaro and secondly in a hotel nearby. He painted
six views of this stretch of the waterway, near the
church of Santa Maria della Salute. He also painted
individual buildings on the Grand Canal such as
the Palazzo Dario.
Palazzo Contarini
Kunstmuseum, St. Gallen, Switzerland

Palazzo Contarini
Private collection
Palazzo da Mula at Venice
National Gallery of Art,
Washington, DC
Palazzo da Mulla
Private collection
Palazzo Dario
Private collection

The Grand Canal
Private collection
The Grand Canal
National Gallery, Trafalgar Square, London

• The 1890s were marked by a new passion in
Monet’s life. He threw himself into the creation
of his garden at Giverny, as he had thrown
himself into the creation of serial paintings.
• with his financial success, he was able to make
this wonderful garden and pond .
• Monet painted an enormous number of
landscapes of his own garden. They became a
veritable obsession ,
•
Water Lilies and Japanese Bridge, 1897–1899, Princeton University Art Museum

Flowering Arches, Giverny, 1913, Phoenix Art Museum Water Lilies, 1906, Art Institute of Chicago

Water Lilies, Musée Marmottan Monet
Water Lilies, c. 1915, Neue Pinakothek, Munich

Claude Monet, The Water Lilies – The Clouds, 1920–1926, Musée de l'Orangerie, Paris
Claude Monet, The Water Lilies – Setting Sun, 1920–1926, Musée de l'Orangerie, Paris

The Water Lilies is indeed painted, contrary to his
custom, with big brushstrokes, the glittering light has
dimmed, the juxtaposed touches of pure colour have
disappeared, and the painting has become darker.
Certain portions of the panel are painted with such
large, indistinct patches of colour that the images of the
trees and flowers disappear. The painting becomes
almost abstract. But in front of The Water Lilies one
loses all sense of canvas and of colours. Monet’s The
Water Lilies surrounds the viewer with the pond’s
stagnant water, with the waxy cup-shapes of his
flowers, and the weeping willows bent over them. The
impression of sensing nature’s breath all around one is
so intense that only an Impressionist could have
produced it.

Last years,
• Monet's second wife, Alice, died in 1911, and his
oldest son Jean, who had married Alice's daughter
Blanche, Monet's particular favourite, died in
1914.After Alice died, Blanche looked after and cared
for Monet. It was during this time that Monet began to
develop the first signs of cataracts.
• During World War I, in which his younger son Michel
served and his friend and admirer Georges
Clemenceau led the French nation, Monet painted a
series of weeping willow trees as homage to the
French fallen soldiers
• In 1923, he underwent two operations to remove his
cataracts. The paintings done while the cataracts
affected his vision have a general reddish tone, which
is characteristic of the vision of cataract victims. It may
also be that after surgery he was able to see certain
ultraviolet wavelengths of light that are normally
excluded by the lens of the eye; this may have had an
effect on the colours he perceived. After his
operations he even repainted some of these paintings,
with bluer water lilies than before
Water Lilies and Reflections of a Willow (1916–1919),
Musée Marmottan Monet

Weeping Willow, 1918–19, Columbus Museum of Art
Claude Monet - Columbus Museum of Art
The Rose Walk, Giverny, 1920–1922, Musée Marmottan
Monet

Weeping Willow, 1918–19,
Kimball Art Museum, Fort
Worth, Monet's Weeping
Willow paintings were an
homage to the fallen French
soldiers of World War I

The Garden at Giverny
Water-Lily Pond and Weeping Willow, 1916–1919,
Sale Christie's New York, 1998

Death
• Monet died of lung cancer on 5 December 1926 at the age of 86 and
is buried in the Giverny church cemetery. Monet had insisted that
the occasion be simple; thus only about fifty people attended the
ceremony. At his funeral, his long-time friend Georges Clemenceau
removed the black cloth draped over the coffin, stating, "No black
for Monet!" and replaced it with a flower-patterned cloth.
• His home, garden, and waterlily pond were bequeathed by his son
Michel, his only heir, to the French Academy of Fine Arts (part of the
Institut de France) in 1966. Through the Fondation Claude Monet,
the house and gardens were opened for visits in 1980, following
restoration. In addition to souvenirs of Monet and other objects of
his life, the house contains his collection of Japanese woodcut prints.
The house and garden, along with the Museum of Impressionism,
are major attractions in Giverny, which hosts tourists from all over
the world.
Monet, right, in his garden at Giverny, 1922

1841-1919
Pierre-Auguste Renoir
Figure, Landscapes,
Scenery

• Who or What Influenced Pierre-Auguste Renoir

Pierre-Auguste Renoir Style and Technique
Early years:
• captured real life scenarios
• themes were always pleasant and non-serious
• Experimented with the bright colors
• master at depicting facial expressions
• broken brush strokes was combined with brash colors
to portray the light
• inspired to paint figures, particularly of women.

Reclining Nude
•Date: 1850 - 1860
•Period: Early Years
•Genre: nude painting (nu)

The Artist s Mother
•Date: 1860
•Style: Realism
•Genre: portrait

Romaine Lascaux
•Date: 1864
•Period: Association with
Impressionists
•Genre: portrait

The Return of the Boating
Party
•Date: 1862
•Style: Realism
•Genre: marina

In St Cloud Park
•Date: 1866
Impressionists
•Genre: landscape

The Fairies Pond
•Original Title: La Mare
aux Fees
•Date: 1866
•Style: Realism
•Period: Association
with Impressionists
•Genre: landscape
Collection

The Painter Jules Le Coeur Walking His Dogs in the
Forest of Fontainebleau
•Date: 1866
•Style: Realism
•Period: Association with Impressionists
•Genre: landscape
•Location: Museu de Arte Assis Chateaubriand (MAC),
Campina Grande, Brazil

Two Figures in a Landscape
•Date: 1865 - 1866
•Style: Realism
Impressionists
•Genre: landscape

The Inn of Mother Anthony
•Date: 1866
•Style: Realism
•Location: Nationalmuseum, Stockholm, Sweden

Frederic Bazille Painting The Heron
(Frederic Bazille at his Easel)
•Date: 1867
Impressionists
•Genre: portrait
France

The Pont des Arts and
the Institut de France
•Date: 1867
•Style: Realism
Impressionists
•Genre: cityscape

The Champs
Elysees during
the Paris Fair
of 1867
Pierre-Auguste
Renoir
•Date: 1867
•Style:
Impressionism
•Period:
Association with
Impressionists
•Genre:
cityscape
•Media: oil,
canvas
•Location:
Private
Collection

Diana
•Date: 1867
•Style: Realism
•Genre: mythological
painting

In summer (The Gypsy)
•Original Title: En été (La Bohémienne)
•Date: 1868
•Genre: portrait

Young Boy with a Cat
•Date: 1868 - 1869
Impressionists
Lise on the Bank of the Seine
•Date: 1870
•Style: Realism
Impressionists
•Media: oil

Head of a Dog
•Date: 1870
Impressionists
•Genre: animal painting

Rapha Maitre
•Date: 1871
•Genre: portrait

The Path through the Forest
•Date: 1871
•Genre: landscape

Camille Monet Reading
•Date: 1872
•Genre: portrait
•Location: Clark Art Institute, Williamstown, MA,
US

Claude Monet Reading
•Date: 1872
Impressionists
•Genre: portrait

Pont Neuf
•Date: 1872
with Impressionists
•Genre: cityscape
•Dimensions: 50.8 x
60.96 cm

The Harvesters
•Date: 1873
Impressionists
•Genre: landscape

In the Loge
•Date: c.1874
Impressionists

The box
•Date: 1874
Impressionists
•Genre: portrait

Dance at Moulin de
la Galette
Pierre-Auguste
Renoir
•Date: 1876
•Style:
Impressionism
with Impressionists
•Genre: genre
painting
•Location: Musée
d'Orsay, Paris,

Bouquet of Flowers
At the Milliner`s
(study)
Pierre-Auguste
Renoir
•Date: c.1878
•Style:
Impressionism
•Period:
Association with
Impressionists
•Genre: sketch
and study
•Media: oil,
canvas
Collection

The Banks of the Seine at
Argenteuil
•Date: 1880
Impressionists

Three Partridges
Pierre-Auguste
Renoir
•Date: c.1880
•Style:
Impressionism
•Period:
Association with
Impressionists

Alfred Berard and His Dog
•Date: 1881
•Period: Rejection of Impressionism
•Genre: portrait
•Location: Philadelphia Museum of Art,
Philadelphia, PA, US

Mother and Child
•Date: 1881
•Period: Rejection of
Impressionism
•Location: Barnes Foundation,
Lower Merion, PA, US

• in 1881 a trip to Italy introduced Renoir to the work of the
Renaissance artists Raphael, Velazquez, and Rubens and this
inspired him to change his technique and experiment with a
more decorative and traditional style
• Consequently, his subsequent paintings became more linear. He started
using bold lines to outline his objects and black to provide contrast and
he focused less on brush strokes and blending colors and more on form
and contours. The resulting works resulted in what art historians call
Renoir's "dry" or "Ingres period" because he accentuated the outlines
of his figures
• A more classical approach later in his career, Renoir developed his own unique style
which fused his sunny, optimistic outlook with bold, contrasting lines. This style
dominated the rest of his works, most of which focused on nude women.
• depicted mythological subjects

Still Life with Fruit
•Date: c.1882
Impressionism

Steps in Algiers
•Date: c.1882
•Genre: cityscape

Madame Hériot
•Date: 1882
•Style: Impressionism,
Japonism
•Genre: portrait

A Girl
•Date: c.1885
•Style: Realism
•Genre: portrait
•Location: Bridgestone Museum of Art, Tokyo, Japan

Suzanne Valadon
•Date: c.1885
Impressionism
•Genre: portrait

Umbrellas
•Date: 1885 - 1886
•Style: Post-Impressionism
•Location: Dublin City Gallery The
Hugh Lane, Dublin, Ireland, National
Gallery, London, UK

Bather
•Date: 1887

The Large
Bathers
Pierre-Auguste
Renoir
•Date: 1887
•Style:
Impressionism
•Period: Rejection
of Impressionism
•Genre: nude
painting (nu)
•Location:
Philadelphia
Museum of Art,
Philadelphia, PA,
US
•Dimensions: 170
x 115.6 cm

Bougival
•Date: 1888
Impressionism
•Genre: landscape
Collection

The Coiffure
•Date: 1888
Impressionism

Two Little Girls
•Date: c.1890
Impressionism
Collection

Vase of Chrysanthemums
•Date: 1890
•Genre: flower painting

Girls at the Piano
•Date: 1892
•Period: Later Years
France

Advanced Years:
• After 1890, Renoirs work moved in a new direction yet again. He returned to using
thin brush strokes and became less concerned with outlines, instead opting for a
more sketchy approach. Renoir focused on epic nudes and domestic scenes
• In his late career, Renoirs style changed again and he opted for stronger colors -
often reds and oranges - and thick brush strokes. The female nude was a favorite
subject of Renoirs and he depicted details of the scene through freely-brushed
spots of color which fused his figures and their surroundings.

Young Girls by the
Water
•Date: c.1893

Bathers
•Date: 1894

Bather with Long Hair
•Date: c.1895
•Location: Musée de l'Orangerie, Paris,
France

Gabrielle and Jean
•Date: 1895
•Location: Musée de
l'Orangerie, Paris, France

Mother and child
•Date: c.1895
•Location: Legion of Honor,
San Francisco, CA, US

Portraits of Two Children
•Date: 1895
•Genre: portrait

Roses in a Vase
•Date: c.1895
•Genre: flower painting

Treboul
•Date: 1895
•Genre: landscape
Collection

Apples and Flowers
•Date: c.1895 - 1896
•Location: Hermitage
Museum, Saint Petersburg,
Russia

Woman After Bathing
•Date: 1896

Young Guitarist
Standing
•Date: c.1897

Breakfast at Berneval
•Date: 1898

Flowers in a vase
•Date: c.1898
•Genre: flower
painting

Self-Portrait
•Date: 1899
•Location: Clark Art
Institute, Williamstown,
MA, US

View of cagnes
Pierre-Auguste
Renoir
•Date: c.1900
•Genre: landscape

The Shepherdess
•Date: c.1902

La Poste at Cagnes
•Date: c.1905
•Genre: landscape
Collection

Bather Admiring Herself in
the Water
•Date: c.1910

Self-Portrait
•Date: 1910

The Sea at
Cagnes
Pierre-Auguste
Renoir
•Date: c.1910
•Style:
Impressionism
•Period: Later
Years
•Genre: landscape
•Media: oil,
canvas
Collection
•Dimensions: 46.5
x 40691 cm

Caryatides
•Date: 1910
•Genre: nude painting
(nu)

Laundresses
•Date: c.1912
Collection

The judgment of Paris
•Date: 1913 - 1914
•Genre: mythological
painting
•Location: Hiroshima
Museum of Art, Hiroshima,
Japan

Study for The Saone
Embraced by the Rhone
•Date: 1915
•Genre: sketch and study
cm

The Concert
•Date: 1918 - 1919
•Location: Art Gallery of
Ontario (AGO),
Toronto, Canada
•Dimensions: 75.6 x
92.7 cm

A Church at
Cagnes
Pierre-Auguste
Renoir
•Style:
Impressionism
•Genre: cityscape

Impressionism Post-Impressionism
•Originated in Paris as an artistic reaction to
the rapidly changing urban environment.
• Originated in France as a reaction
to impressionism.

•High Fashion Urban Scenes
•It was done outdoors.
On the basis of subject and sight:
•Rural Scenes and everyday life
•It was done inside a studio.

• The thick application of paint.
• Direct application of paint
• No mixing on canvas.

• To make art and emotional
experience through the use
of symbolism, vibrant
colours and captivating
forms.
• Experimenting with colour,
form and perspective.

• The concern was to emphasize
geometric forms, distort form for
expressive effect, and use unnatural
or arbitrary colour.
• They use thick brush strokes to drew
attention to expressivity of the art.
• Capturing not only the light but
also expression of both things
and people.

• Broken color is technique used by
Impressionist painters in an effort
to capture the actual sensation of
the light!
• The length of brushstrokes can vary
from painting to painting
determined by the mood or feelings
of the painter on that day.

Material
Hog bristle brushes! The hog hair brushes that were
developed in the 19th century allowed the thick application
of paint seen in Impressionist works.
Contrasting or complementary colors were
often used in impressionist works, and in this
painting the primary colors that the artists uses
are complementary shades blue and orange.

Paul Cezanne
Born 19 January 1839
Died 22 October 1906 (aged 67)
Nationality French
Notable work •Mont Sainte-Victoire seen from
Bellevue (c. 1885)
•The Card Players (1890–1895)
•The Bathers (1898–1905)
Movement
Impressionism, Post-Impressionism
Awards
Cézanne medal

Paul Cezanne used thick dobbs of colors with
palette knife. He experimented with reducing objects to
basic geometric forms.
Explored properties of line, plane, color
and interrelationships. „Understood visual
properties of colors: hues, saturation, value,
cool colors recede, warm colors advance and
juxtaposed colors to create volume and
depth.

Used perspective through juxtaposing forward warm
colors with receding cool colors.
Landscape rarely contains humans.

Cezanne revived interest in the still life which
had been neglected by artists for nearly 300
years.
Eg. A basket of apple. Texture application and colour gradations were very
improvised as compared to impressionism. He portrayed various elements as
simplistic shapes and laid them out flat on the canvas giving a decidedly abstract
look and feel. His greatest complaint with the impressionist tradition was that it did
not allow artists to refine and harmonize the visual elements in the picture. This
was the basis for the cubist movement.

Neo-impressionism
Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to
describe an art movement founded by Georges Seurat
Around this time, the peak of France's modern era emerged and many painters were
in search of new methods. Followers of Neo-Impressionism, in particular, were drawn
to modern urban scenes as well as landscapes and seashores. Science-based
interpretation of lines and colors influenced Neo-Impressionists' characterization of
their own contemporary art.
Some argue that Neo-Impressionism became the first true avant-garde movement in
painting.
The Neo-Impressionists were able to create a movement very quickly in the 19th
century, partially due to its strong connection to anarchism, which set a pace for later
artistic manifestations.
The movement and the style were an attempt to drive "harmonious" vision from
modern science, anarchist theory, and late 19th-century debate around the value
of academic art. The artists of the movement "promised to employ optical and
psycho-biological theories in pursuit of a grand synthesis of the ideal and the real, the
fugitive and the essential, science and temperament.

Artist : Georges Seurat
Year : 1884–1886
Medium: Oil on canvas
Dimensions: 207.6 cm
× 308 cm (81.7 in × 121.3 in)
Location: Art Institute of
Chicago, Chicago

Principles of aesthetic: light and color
• During the emergence of Neo-Impressionism, Seurat and his followers
strove to refine the impulsive and intuitive artistic mannerisms
of Impressionism. Neo-impressionists used disciplined networks of
dots and blocks of color in their desire to instill a sense of organization
and permanence. In further defining the movement, Seurat
incorporated the recent explanation of optic and color perceptions.

• The development of color theory by Michel Eugène
Chevreul and others by the late 19th century played a
pivotal role in shaping the Neo-Impressionist style.
Ogden Rood's book, Modern Chromatics, with
Applications to Art and Industry, acknowledged the
different behaviors exhibited by colored light and
colored pigment.[5] While the mixture of the former
created a white or gray color, that of the latter
produced a dark, murky color. As painters, Neo-
Impressionists had to deal with colored pigments,[2] so
to avoid the dullness, they devised a system of pure-
color juxtaposition. Mixing of colors was not
necessary. The effective utilization of pointillism
facilitated in eliciting a distinct luminous effect, and
from a distance, the dots came together as a whole
displaying maximum brilliance and conformity to

Evolution
• This movement's peak years lasted about five years (1886–1891), but
did not end with Georges Seurat's death in 1891. Impressionism
continued to evolve and expand over the next decade with even more
distinctive characteristics. Incorporation of political and social ideas,
especially anarchism, started showing prominence. After Seurat's
death by diphtheria and his friend Albert Dubois-Pillet's by smallpox
in the previous year, the Neo-impressionists began to change and
strengthen their image through social and political alliances. They
forged links to the anarcho-communists movement and through this,
many more young artists were attracted to this "blend of social and
artistic theory". In the later 1890s Signac went back to his earlier
belief in the visual harmony of the Neo-impressionist style, and the
belief that it signified his ideals.

Vincent van Gogh
Born : Vincent Willem van
Gogh 30 March 1853
Zundert, Netherlands
Died : 29 July
1890 (aged 37)
France

Vincent Willem van Gogh was a Dutch post-
impressionist painter who is among the most famous
and influential figures in the history of Western art. In
just over a decade he created about 2,100 artworks,
including around 860 oil paintings, most of which date
from the last two years of his life. They
include landscapes, still lifes, portraits and self-
portraits, and are characterised by bold colours and
dramatic, impulsive and expressive brushwork that
contributed to the foundations of modern art. He was
not commercially successful, and his suicide at 37
came after years of mental illness and poverty.

Style and works
• Van Gogh drew, and painted with watercolours while at school, but
only a few examples survive and the authorship of some has been
challenged.When he took up art as an adult, he began at an elementary
level. In early 1882, his uncle, Cornelis Marinus, owner of a well-
known gallery of contemporary art in Amsterdam, asked for drawings
of The Hague. Van Gogh's work did not live up to expectations.
Marinus offered a second commission, specifying the subject matter in
detail, but was again disappointed with the result. Van Gogh
persevered; he experimented with lighting in his studio using variable
shutters, and with different drawing materials.

Starry Night Over the
Rhone, 1888. Musée
d'Orsay, Paris
Olive Trees with the Alpilles
in the Background,
1889. Museum of Modern
Art, New York

Portraits
• The portraits gave Van Gogh his best opportunity to earn. He believed
they were "the only thing in painting that moves me deeply and that
gives me a sense of the infinite."He wrote to his sister that he wished
to paint portraits that would endure, and that he would use colour to
capture their emotions and character rather than aiming for
photographic realism. Those closest to Van Gogh are mostly absent
from his portraits; he rarely painted Theo, Van Rappard or Bernard.
The portraits of his mother were from photographs.

Portrait of Artist's
Mother, October
1888, Norton Simon
Museum of Art,
Pasadena, California

Self-portraits
Self-Portrait, September 1889.
Van Gogh created more than 43 self-portraits
between 1885 and 1889. They were usually
completed in series, such as those painted in
Paris in mid-1887, and continued until shortly
before his death. Generally the portraits were
studies, created during introspective periods
when he was reluctant to mix with others, or
when he lacked models, and so painted
himself.

{Henri Rousseau}
Henri Julien Felix Rousseau
[Laval, mayenne]
Born in -21 may 1844
Died – 2 September 1910(AGED 66)
IN PARIS ,FRANCE

 HE WAS A FRENCH
POST –IMPRESSIONIST
PAINTER
A humorous description
of his occupation as a {toll
and tax }collector.
He started painting
seriously in his early
forties; by age of 49, he
retired from his job to
work on his art full-time.

 He came to be recognized as a self-taught
genius whose work are of high artistic
quality.
Rousseau claimed he had “no teacher
other than nature”, he got “some advice
"from 2 famous artist {Academic painter,
Felix august clement and jean-Leon
Gerome}.

 He claimed to have invented a
new genre of portrait
landscape, which he achieved
by starting a painting with a
specific view, such as a
favourite part of the city, and
the depicting a person in the
foreground.

Henri Marie Raymond de Toulouse - Lautrec - monfa
Henri de Toulouse-
Lautrec
Born in-24 November 1864
Died in 9 September 1901
(aged 36) in
Saint- Andre –DuBois,
France

He was a French painter, printmaker,
draughtsman , caricaturist and illustrator.
Toulouse- Lautrec is among the best –
known painter of the Post-Impressionist
period , with Paul Cezanne ,Vincent van
Gogh ,and Paul Gauguin.

 His debt to the Impressionists,
particularly the more figurative
painters like Manet and Degas, is
apparent, for within his works,
one can draw parallels to the
detached barmaid at A Bar at the
Folies-Bergère by Manet and the
behind-the-scenes ballet dancers
of Degas.
 His style was also influenced by the
classical Japanese woodprints which
became popular in art circles in Paris.

skilled depiction of
people relied on his
painterly style, which is
highly linear and
emphasizes contour.
 On 20 August 2018 Toulouse-Lautrec
was the featured artist on the BBC
television programmed Fake or
Fortune?. Researchers attempted to
discover whether two sketchbooks
were created by him

The les nabis
• was a group of young French artists active in
Paris from 1888 until 1900, who played a large
part in the transition from impressionism and
academic art to abstract art, symbolism and
the other early movements of modernism.

Roussel, Félix
Vallotton, and Paul
Sérusier. Most
were students at
the Académie
Julian in Paris in
the late 1880s.
The Nabis Pierre
Bonnard, Felix
Vallotton and Édouard
Vuillard, created
particularly remarkable
paintings depicting the
interiors of homes, where
the inhabitants of the
rooms were almost
entirely absorbed into the
intense floral decoration
and furnishings.

In 1937 Vuillard described the breakup of the Nabis. "...The march
of progress was so rapid. Society was ready to
welcome cubism and surrealism before we had reached what we
had imagined as our goal. We found ourselves in a way
suspended in the air

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