Impressionism And Its Influence On Modern Art

Impressionism is an artistic style of painting that originated in France in the 1870s. This style of painting attempts to capture an experience or emotion opposed depicting a scene accurately. Every impressionistic painter has a distinct method of rendering as well as their own distinct set of qualities that reflect the artist themselves. For instance, The Basket Chair by Berthe Morisot and The Orange Trees by Gustave Caillebotte are two impressionist works of art of oils on canvas that contrast in many ways. These two paintings will be compared side by side with an in depth approach comparing the artist’s personal status in society, modernism’s role in the piece, and the execution of composition.

Two sculptures, among others, lie in the outskirts of the Franklin D. Murphy Sculpture Garden at UCLA. One of them, The Walking Man, is a bronze sculpture created by French sculptor Auguste Rodin in 1905. The other, made more than 100 years later, is T.E.U.C.L.A., a large scale steel sculpture made by minimalist sculptor Richard Serra. Although it may seem like these works have more differences than similarities, both emphasize the processes of their creation and are major movements away from the classical tradition of sculpture. However, The Walking Man and T.E.U.C.L.A. also differ in several aspects that reflect their respective artists’ personal portrayals of modern sculpture. These aspects include: mode of production, composition and the arrangement of volumes, the play of light and shadow, and visual experience. Together these elements of formal organization work together to convey meaning in both of these works. Rodin’s deliberate rejection of refinement and disregard for the direct translation of the unformed to formed in The Walking Man represent the process and spontaneity of reality, while Serra’s use of curvature and aperture in T.E.U.C.L.A. models the spaces people move through and the perceptive skills they use in life and nature.

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.

In the 19th century, there was an artistic transition from realism to a new form called impressionism. This change originated in France, as the world underwent a transition to industrialization. The impressionist was able to understand how light and color operate hand in hand in a painting. Instead of seeing an image as a whole work, impressionist would see smaller images making up the entire piece. The style was primarily made of the use of intense colors, open composition, light and movement and brush strokes. They were mainly

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.

When studying artists, styles of art and their respective time period, it is always important to find a few key artists that were responsible for the rise of new art trends. Traditionally, art has often a reflection of the most important elements within its respective time period, such as wars, religions, royalty, culture and expression. This is why the study of art history is needs to look deeper than simply understanding how certain artworks were created. Among the various artists studied in the course, Andy Warhol is definitely one of the most influential. Far ahead of his time in thinking and talented in several media forms, Warhol was a product of his time and defined his era with the use of his artwork, giving rise to other artists within the same time period. This paper will argue that Warhol was not only an influence to modern art, he defined the concept of "pop art", which combined consumerism and pop culture, creating works that questioned the norm of society at the time, while providing a strong influence to future artists. Warhol was hugely successful in his artistic efforts and several of his staple works will be discussed in regards to its significance and representation of its respective period of time, as well as Warhol’s influence on the history of art.

Edouard Manet was a French painter who used everyday subjects just for an occasion to make a painting. He was a leading artist in the transition from realism to impressionism. Therefore, he is known as the “godfather of Impressionism” (Rosenbum). For some people Manet was the first

Visual opulence, creativity, inimitable vision, and a style that is highly influential are the many characteristics of an admired movement in art history, that being of the Post-Impressionism movement (1875-1892). This movement, which was a by-product of the Impressionism movement, is the bridging gap between the two movements known as Realism and Expressionism. Post-Impressionism takes on some of the stylistic characteristics of these movements; however, it does not contain the all too glossy visuals of Realism or the heavily fantastic visuals of Expressionism, rather it is the intermediary of these two poles. My paper will discuss why this link was absolutely essential to the history of art movements, and I will be specifically using the

It is ironic that Meissonier played such a large role in the story of the rise of Impressionism because he was known for his detailed and accurate history paintings. In the artistic revolution of Realism and Impressionism, Meissonier became identified with those who blocked these developments. The first chapter discusses how detailed his works are stating his “punctilious craftsmanship” and how even though his painting were small in size, they “rewarded the closest and most prolonged observation.”. This is ironic because the other artists who are discussed were reprimanded for their controversial and noticeable mark-making. In the next chapter, Meissonier is compared to Manet: “Two years earlier a critic had praised Meissonier for painting his bonshommes so realistically that their lips appeared to move. Such mind-boggling manual dexterity and painstaking dedication to minutia were entirely absent from Manet’s work. He applied his paint thickly and in broad brushstrokes, suppressing finer details such as the facial features of his reeling drunkard and taking instead a more abstract approach to visual

In this paper I will compare and contrast two paintings, one from French artist Rosa Bonheur and another from German painter Franz Marc. Marc was an expressionist artist who was “a pioneer in the birth of abstract art at the beginning of the twentieth-century.” (Pioch, 2002) Bonheur was a Realist artist who made a great impact on the painting style of realism during the ninetieth century. Bonheur was about embracing reality and nature, while Marc was about evoking moods through the subject matters and colors choices in his paintings. These two artist styles are particularly different from one another, but yet they still have similarities throughout their paintings. This paper will highlight the similarities and differences between these two artists, making the theme “reality” verses “perception”.

The Modernist movement was an intellectual and cultural movement that began at the start of the 20th century and lasted until around 1945. One of the factors that helped shaped Modernism was the development of modern industrial societies as well as the rapid growth of cities. Modernists rejected Enlightenment thinking and some even rejected certain religious beliefs. One characteristic, possibly the most important one, of Modernism was the idea of self-consciousness (Farah). The Modernist movement would influence the literature written such as novels and poetry and would also have an influence on art work during this time period. Three people who were influenced by the modernist movement include F. Scott Fitzgerald, T.S Eliot, and Georgia O’ Keeffe.

The majority of the late 19th century art that I will be discussing tonight falls under the category of Aestheticism, or art that seeks to express what is beautiful. To understand the origins of Aestheticism, one must first hear a brief history of the mainstream art traditions that led to this change in values. Until around 1850, Academies of art ruled the art scene and defined what was beautiful and what could be considered art. Academies included the French Academy and the Royal Academy of Art in Great Britain, which were both government organizations that controlled the education and exhibition of art. Any artist who was not trained and supported by these academies could not have a successful career because they would not be accepted into the salons, or annual exhibitions organized by the Academy, where art was displayed and purchased.

The beginning of 20th century was a time of drastic change. New developments were made in the arenas of the classical sciences, social science, psychology and philosophy - each challenging traditional thought. Industrialization and the introduction of many new, challenging concepts in the fields of politics as well as the development of new technologies gave artist more freedom to innovate and break the rules of traditional art. By using new materials, techniques and the new approach artists were pushing boundaries of what has previously been accepted art practice in order to invent radically new styles.

“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.