How Did Impressionism Be The First Distinctly Modern Movement Within Art?

Post-impressionism and Pop Art resulted as an artistic reaction on both sides. Post-Impressionism groups diverse pictorial tendencies that arose in France surroundings to 1880-1905 like reaction to the impressionism. In the other hand pop art was an artistic reaction to abstract expressionism. It can seem surprising the fact that in so short space of time, as soon as a quarter of century, so many evolutions and involutions in the land of art have taken place, mainly considering that until second half of century XIX, the great

Impressionism, in contrast, strove not to capture the toils of society in a moralistic setting like Realism did, but to evoke a general mood in the viewer. Painting was transformed from the idea of capturing a moment on canvas to creating a moment on canvas; painting was reduced to its own surface, “no longer transparent means but opaque ends” (Schneider 43). This was exemplified by Manet’s own ideas of painting not as “sight” but as “insight” into the human condition, driven by an artist’s intuition. Manet and the impressionists began painting en plein air, outdoors in the fresh air where they were closer to their subjects and captured the light of fleeting moments like sunrises and sunsets with quick brushstrokes intended to evoke general mood in the viewer based on the capture of light and tones in the painting, leading to the namesake “impression” left by the movement.

Paul Cézanne is often called the first modernist painter, and in his essay, “Cézanne and the Unity of Modern Art” Clement Greenberg, identifies Cézanne as the “most abundant generator of ideas and the most enduring in newness”(Greenberg,83). This, coming from one of the most influential art critics of the twentieth century, is not to be taken lightly. Cézanne was extremely influential to the modernist painters of the early twentieth, including Pablo Picasso and George Braque in their development of Cubism (Orfila,3). At the beginning of his career, Cézanne painted in the impressionist style that was common for the avant guard painters of the time, but he was disinterested in capturing the “transitory

Between the end of the First World War and Hitler's seizure of power a cultural explosion occurred in Paris that altered our notions of art and reality and shaped our way of viewing the world ever since. In the 1920's, Paris became the undisputed international capital of pleasure and was regarded as the cultural and artistic center of Europe with a reputation for staging one of its most glamorous eras, as well as some of the most spectacular revues in the world. Imagine for a moment, that it really is 1920's Paris. You are leisurely strolling through the gas lit promenades. World War I is over and the exuberance of jazz musicians, symbolist painters, and American expatriates

When looking at what factors lead to the rise of the pictorial poster, it is clear to see that the majority of them occurred in late nineteenth century Paris and that perhaps one man, Jules Chéret, can be thanked for exploiting and mastering the techniques which made these posters reach the levels of respect previously reserved for the fine arts. As well as Jules Chéret and his mastery of lithography I will be exploring the influence of Japan and their printing techniques upon Toulouse Lautrec as well as Baron Georges-Eugene Haussmann’s renovation of Paris during its Second empire, the impacts of the rising middle class, and the effects that tax had upon the walls of Paris.

This essay analyses the aesthetic and ideological underpinnings of the Modernist artwork, Impression, Sunrise of Claude Monet. The artwork and Impressionism is considered to be a visual articulation of the avant-garde and the latter statement is explained. References to the writings of Charles Harrison, Clement Greenberg and Wilhelm Worringer is used to theorise the aesthetics of modernity.

The shift from Realism to Impressionism in the 19th century represented not only a change in form, but it also represented a shift in ideology. As one of our module videos notes, rather than focusing on accuracy and clarity, Impressionism emphasized “what the mind and the eye sees” and the “impression of light and color.” We will briefly discuss how the differences in the approaches of the Realists and the Impressionists had interesting implications for arts and how these ideologies can be applied to the ways in which believers and unbelievers interpret art.

In the early twentieth century Post-Impressionism was the avant-garde art movement in the world, with its central city Paris, France. Artists from different religious backgrounds, cultures, and societal hierarchies migrated to Paris to take their art in new directions. France was a city of tolerance during both Pre and Post WWI; therefore, it was a beacon for those who wanted to convey their emotions and ideas visually. Paul Cezanne, Pablo Picasso, Georges Braque, Marcel Duchamp, Henri Matisse, Marc Chagall, Amedeo Modigliani, Chaim Soutine, and Robert Delaunay came to Paris and sought to create art with a personal aesthetic and to capture the essence of the modern era.

Overall, the ideologies discussed within the articles Written In Blood: 20th Century Art by Stephanie Dudek and Estrangement As A Motif In Modern Painting by John Adkins Richardson address similarities and differences from various standpoints. Modernistic ideologies towards social, cultural and technological changes of the 20th century are demonstrated in both articles. The article by Stephanie Dudek emphasizes on the employment of radical and transgressive values by modern artists within their work to target cultural, and artistic principles that have persisted over many generations leading to a transformation within the subject of art (Dudek 105). Furthermore, modern art set out to obtain new visions of reality as witnessed within the Cubist

My event was the Dallas Museum of Art; “The Lens of Impressionism,” photography and painting along the Normandy coast 1850-1874. I went on Sunday, February 21, 2010. The class studied this era in Chapter 13: The Working Class and the Bourgeoisie. The term "impressionism" was coined by a critic interacting with Clause Monet's "Impression: Sunrise" painting in 1874. French impressionists depicted light and color and was often embellished with romanticism; usually conveyed scenes filled with light and joy (Sayer).

One hundred and fifty years ago, Paris was the center of art culture in France. Back then, every artist had one goal: get into the Salon, which was a gallery for all the greatest art within France. There was one problem, the Salon forced artists to conform to what the Salon believed was real art (i.e. young men at war and fair maidens under trees). The artists were forced to become the little fish in the big pond. It got to the point where some artists got sick of conforming and decided to create there own Salon with paintings that probably wouldn’t have made it into the Salon.

Art Nouveau, 1890-1914, explores a new style in the visual arts and architecture that developed in Europe and North America at the end of the nineteenth century. The exhibition is divided into three sections: the first focuses on the 1900 World's Fair in Paris, where Art Nouveau was established as the first new decorative style of the twentieth century; the second examines the sources that influenced the style; and the third looks at its development and fruition in major cities in Europe and North

Today was a beautiful day for a drive to Chicago. My purpose would be to visit my first art museum, The Art Institute of Chicago. The Art Institute of Chicago is a must visit. I was tasked to choose a piece of art, study the piece, and then write about this piece. It was a very difficult task, to choose just one single piece. The Art Institute is the home to an enormous amount of art work, from paintings to pottery, from Impressionism to Contemporary, from Van Gogh to Monet, and the list goes on. I did however choose one piece, Georges Seurat’s; A Sunday on La Grande Jatte (1884).

Post-impressionist paintings under the “IT’ theory alone were not considered art. To be able to accept post-impressionist paintings as art then required, “a revolution in taste.” The artworld, as Danto would agree needed to bring a new theory in order to

“Modern painting, breaking through old conversation, has released countless suggestions which are still waiting to be used by the practical world.”(Gropius) The birth of modernism and modern art goes back to the Industrial Revolution, a period that lasted from the 18th to the 19th century, in which rapid changes in manufacturing, transportation, and technology profoundly affected the social, economic, and cultural conditions of life in Western Europe, North America, and eventually the world. Before the 19th century, artists created art pieces for wealthy people and institution places like the church where they can create art works about storytelling of religious or mythological scenes . These arts were there to instruct the viewers.However, this changed when during the 19th century many artists began to create works that were about people, places, or ideas that interested them, and of which they had direct experience. With the popularization of the idea of a subconscious mind, many artists began exploring dreams, symbolism, and personal iconography as avenues for the depiction of their subjective experiences.Challenging the notion that art must realistically depict the world, some artists experimented with the expressive use of color, non-traditional materials, and new techniques and mediums.