Impressionism In Claude Monet

The 19th century art movement, Impressionism originated by a group of artists who rejected the official, government endorsed exhibitions. In 1863, a large number of artist were not accepted into the most important event of the art world, The Official Salon. To which they responded by creating an exhibition known of their own, known as the Salon de Refuses which consisted of work by artists who had been refused acceptance to the official salon. The Impressionists aimed to capture the fleeting moment of a scene, which turned away from the fine finish and detail that majority of artists aimed for in their day. They wanted to capture the effects of light, to convey the difference of time, changes in weather, and other differences in the atmosphere,

Impressionism is a way of painting which depicts objects using strokes and dabs of primary unmixed colours in order to simulate reflections of light. This style of painting was completely different and new at the time and both Seurat and Monet used these methods to become pivotal impressionist artists in the early 1870s.

Monet's painting Sunrise displays vivid color, which is commonly used among impressionists. The painting is of the sun rising over the lake, over looking the bay and the boats within. "Sunrise is a patently a seascape; but the painting says more about how one sees than about what one sees. It transcribes the fleeting effects of light and the changing atmosphere of water and air into a tissue of small dots and streaks of color-the elements of pure perception" (Fiero 114). This painting is typical of its style because it captures light at that moment. The sun is rising and its color is projected to everything in its path. Monet seems to capture this

Jean-Francois Millet’s Potato Planters is a portrayal of two farmers; more likely husband and wife, planting seeding to grow potatoes during the day on their farm. This art has a lot of emphasis, movement, color, line, light, and depth.

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.

Claude Monet's Grainstack (Sunset) is the painting I chose from the Boston Museum of Fine Arts. Monet was an impressionist painter in France, and did most of his work at his home at Giverny. Impressionism got its name from a painting that Monet painted, Impression Sunrise. Impressionist paintings are put into a category based on characteristics such as light that draws attention to objects, rough textures, and visual pleasure that the viewer receives upon looking at the paintings. Impressionist paintings are art for arts sake and focus on leisure and nature. These paintings are generally the most well known and popular paintings because of their attractive appearance.

Edgar Degas and Claude Monet used different techniques and styles in their paintings. Monet has been described as “The Driving force behind Impressionism”. He studied the reflection of the light and its effects on the colors and also he preferred to paint in indoor places. Edgar Degas was different form another impressionist painters, his style reflected his respect to his old masters. Also, he preferred to paint in outdoors places. Moreover, Degas’s art style depended on the depiction of the art movement especially in his dancers drawings. Also, he used oil paintings and pastels in his drawings.

Then he helped us to see the painting as a new project in the Pacific North West. There was not much discovered on the west coast at the time. The painting is very intriguing by its various settings of the landscape. It is a more enjoyable piece to view because how he created the light and dark setting. The form of the mountains, beaches, trees, and water mesh well with light objects in this painting. Sunlight driving in between the dark and land create the feel. This is how the role is played in this

Claude Monet sparked the beginning of the Impressionist movement and began to paint “en plein air” as suggested by a friend. Monet focused on the creation of a modern painting instead of subjects on social commentary that the artists (the “Realists”) before him depicted. He explored personal impressions of light and color throughout his career, mainly focusing on the way light played across a surface. He would change the appearance of a painting the more the natural light changed throughout the day, “capturing the fleeting effects of light and atmosphere” (Stokstad 989). This is shown in his painting Impression: Sunrise; even though, this painting, and technique, were criticized. Critics ridiculed his fast, open brushstrokes, and calling it “unfinished” (Stokstad 987). However, this was the intention of Impression: Sunrise and that of his future paintings as well.

The artwork titled Summer Morning, New York Bay painted by Edward Moron in 1872 presents a scene where the artist looks toward the arising sun early in the morning the where the river meets the atlantic ocean near new York city. The overall effect is pearlscent and marvelous including glowing blue, yellow and brown. The morning calm is interrupted by the smokestacks and distant buildings out in the horizon. He created a scene that we can relate to by just looking at the drawing and feeling as if we are there enjoying it and all its dramatic scenary. He created detail of the water and waves and the boats awaiting to go. Edward moron designed this by applying principles of exploring the effects of light and atmosphere upon the water. He wanted

1. Traditional art form was well defined and Monet played on the wider; broader strokes of his work that layered up to the more defining strokes which couldn’t exactly be seen except in person due to the depth and texture of the art pieces. (2)(5) a. Impression: Sunrise b. Water Lily Pond c. Water Lilies 2.

Van Gogh stares at guests with such solemn eyes that seem to be all colors at once. Claude Monet takes you to the French country side that are covered in swaying pastures of yellow wildflowers and haystacks. The relaxed posed of Renoir’s nude female models shows the realistic ideas the impressionism artists had for the future of art. They painted the true colors of the world around them and present them to us as we pass through the hallways. There is a muffled quietness in the exhibit as everyone observes the sound the paintings reflect as though trying to here the gentle breeze in Monet’s painting of water lilies. Everyone gathers to gaze at George Seurat’s meticulous work that covers an expansive wall which barely contains the impressive effort. Cameras flash trying to capture the unique and awe-inspiring talent and dedication that made Seurat famous but none are able. No one can truly capture the detail and dedication that all artists put into their work through photos, you have to stand right in front of it to come

Art has been a part of history before Christ was born and along the flow of time different styles and movements revolutionized what art means to the creator and audience. On the flow of time one of the branches that stood out in style, color, and expression through repetition was Impressionism. An artist that helped revolutionize Impressionism in his time was Oscar-Claude Monet, but the piece that stood out was the “Mouth of the Seine at Honfleur.”

The Sea at Le Havre, painted by Claude Monet in 1868, is a 23 5/8” x 24 3/8” oil on canvas landscape painting. Monet was a French artist who lived from 1840 to 1926 and was considered to be an impressionist. A unique quality of Monet was unblended “sloppy” brushstrokes combined with a use of precise choice of color, as seen clearly in The Sea at Le Havre. Because of his vigorous and richly textured painting style, Monet was able to capture the look and feel of the movement of water, which was demonstrated in The Sea at Le Havre, using an impasto style. He used erratic brushstrokes to show the ripples of forming waves and the foam of the waves crashing on the shore. His brushstrokes are also almost completely horizontal, which seemed to make the painting feel heavier. In the sky, Monet used thicker, longer, and more opaque strokes, as well as of varying hues of blue and gray, along with white, to create a look of overcast. To give the clouds fluffiness and substance, the paint that was used for the sky was inconspicuously smudged in some places, with more defined clouds layered overtop. The depth of the painting is attributed to his choices of color. Black is rarely used in the painting aside from where necessary, but rather replaced with darker shades of blue to show divots in the water, heavy clouds, and the distance of the village of houses that line the horizon. The different shades also give a more realistic form of light to his paintings, which was a focus of the impressionism era. His painting appears to be slightly gloomy, but doesn’t convey sadness. The piece is uniform in color, to emphasize the overcast, darkened day. Monet also used symmetrical spacing, with the canvas split nearly in half between the sea and the sky. The only thing that separates the sea and the sky is a piece of jutted-out land that shows he is on a gulf or an inlet. On that piece of land, that goes a little over a third of the way onto the canvas, Monet used heavy contrast, then continues the horizon with a slightly thick, darker blue-gray line to clearly separate the halves of sea and sky. There are three places where it appears that Monet used black along with darker shades of purple and blue, and each of those three places are

When entering the room, people crowded around Monet’s pieces, which felt like an honor to see the type and techniques his work has. The colors describe the feeling of an early morning. The painting has a muted palette of blues, greens, and grays. The sunrise is orange and yellow which are surrounded by the clouds and smoke from steamboats. Three boats are shapes and visible while the rest fade into the distance. This painting is an example of plein air or outdoor painting. I also notice that Monet layered the colors so that when I viewed the painting from a far distance I knew what the painting was about however when I looked at it up close I saw brush strokes and