Get SmART: Impressionism

The 'Get SmART' series of MOA blog posts act as a brief introduction to different eras of art history. We will explore how these eras developed, who was involved, what was created, and the impact they had on the world.

Guest Post by Kevin Twitchell, MOA Marketing Intern The story of Impressionism begins in Paris, France in the 1860s. Four students—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Frederic Bazille—were all studying together under artist Charles Gleyre, who introduced them to the traditional styles of French painting. At that time, being a successful French painter meant focusing on creating realistic, well-defined scenes of historical, religious, or mythological figures. The four students soon realized they had little interest in conforming with tradition, and soon began developing their own unique style. They found they were far more interested in painting their basic impressions of a subject, rather than in creating a lifelike image.

The four soon began focusing on capturing scenes from both modern life and the outdoors, painting subjects that were often considered improper for successful artisans. Previously, painters were expected to spend only enough time outdoors to draw a brief sketch of their subject before returning to their studios to begin painting. Monet, Renoir, Sisley and Bazille all preferred to perform these steps outdoors, often in plain view of their subject. Their newly developed technique of painting, called

en plein air, was unheard of for the time.

The artists were also innovative in the techniques and technologies they used in their work. They began using short, thick brush strokes in their painting, often applying wet paint on top of wet paint to create softer edges. They emphasized creating an accurate depiction of light, enjoyed exploring unusual visual angles, and valued ordinary subject matter. They were also part of the first generation of painters to use premixed paints sold in tin tubes, which allowed them to take advantage of the vibrant colors now easily available for purchase. The four artists were soon joined by others who wanted to explore this new style of painting, including artists such as Edouard Manet and Camille Pissarro.

The artists soon began submitting their paintings to be featured in public exhibitions, but their work was often rejected for not conforming with traditional style and subject matter. At this time, the world of French art was dominated by the Académie des Beaux-Arts, an organization considered the means of preserving traditional French painting. Without the approval of the Académie, the artists struggled to sell their artwork.

After facing rejection after rejection from the Académie, as well as the scorn of several citywide publications for their work, the growing group of artists decided to form the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs (The Cooperative and Anonymous Association of Painters, Sculptors, and Engravers) to exhibit their work independently of the Académie. Their first exhibit was held in 1874, receiving very mixed reviews from critics. One reviewer mockingly used the name of a featured painting (Impression, Sunrise by Claude Monet) as inspiration for an article he entitled “The Exhibition of the Impressionists.” Although at first used in derision, the term soon gained favor with the public, who began referring to this new style of painting as Impressionism.

Between 1874 and 1886, the Société organized eight different exhibitions featuring a varying number of artists. The exhibitions were often looked down upon by the art community, and as the years passed, many artists left the Société to work elsewhere. Although it never reached a high level of popularity in 19th century France, the movement would eventually gain enough attention to influence artists as far away as Italy and the United States. Gradually, Impressionism grew to become a more generally accepted style of painting in France, with many of its unique methods and stylings eventually adopted by the general population of French painters. With time, the Impressionist movement faded to be replaced by new styles such as Post-Impressionism, Symbolism, and Fauvism, and the four artists who helped develop the new genre went their separate ways.