Review Of ' Van Gogh 's ' The Rocks Vs. Pissarro 's The Goose Girl '

Although at first glance, Realism and Impressionism appear to be completely separate movements in 19th century art, they in fact were both bred as a response to the new order of Europe that had evolved as a result of the marks made by both the Industrial Revolution and a series of European continental wars. Realist painters and Impressionist painters alike faced controversy in challenging the status quo of the Salons, and took risks to no longer romanticize drastic changes within society caused by industrialization, but instead acknowledge them head-on. Edouard Manet in particular exemplified the gradual transitions from Realism to Impressionism and even to

On the other hand, Vincent van Gogh did not do any cubism work during his time as an artist, however, had more of an interest in drawing. Pablo Picasso had an interest in drawing too, but unlike his work, Vincent van Gogh’s drawings are appreciated without the need for bright colours, drawings such as his depiction of figures, light and landscape. Van Gogh drew using a lot of different media, such as chalks, red pen and charcoal, although he often mixed mediums as well when it came to drawing. He drew on not just paper, but a variety of paper types, and materials. However, Van Gogh’s methods of ‘drawing’ are very different to Pablo Picasso’s.

Impressionism can be considered the first distinctly modern movement in painting. Developing in Paris in the 1860s, its influence spread throughout Europe and eventually the United States. Impressionism was a style of representational art that did not necessarily rely on realistic depictions. The Impressionists loosened their brushwork and lightened their palettes to include pure, intense colors.

Impressionism is an art movement initiated in France (Paris) in 19th century. The name of this art movement was taken from a French artist’s name called Claude Monet, who painted his artwork (impression, sunrise). Impressionism art movement combined a group of prominent French artists, who their exhibitions became more important through 1870 – 1880s, despite the opposition from the classical art community in France. Claude Monet’s painting was provoked by the Critic Louis Leroy.

At first, they were not accepted into their world of art and their work was found disgraceful and shocking. As they saw themselves as Avant-garde leaders and aimed to start a revolution and rebel against the Royal Academy regulations and standards, by doing things like humanizing the holy family, displaying affection bluntly between couples and painting exactly what they saw without any modification in their paintings. All of these things were found open majorly in the Victorian era. However, as time went on people began to accept Impressionism and the Pre-Raphaelites. Both groups had a interesting but different ways of responding to the 19th Century life style and introducing their art. The biggest difference being the context of their painting because even though both groups wanted to make a difference in art they executed their plans differently. However, there were many similarities between them as well one of them being their response to religion which that they didn’t present it to be as magnificent as other artists in the 19th Century. However, they were in the time of the Renaissance (the re-birth) and many people started to think in a new way and the Pre-Raphaelites and the Impressionist were groups who done just

This group included Claude Monet, Pierre Auguste Renoir, Camille Pissarro,Edgar Degas, Alfred Sisley and Henri Marie Raymond de Toulouse-Lautrec whom all worked together, influenced each other, and exhibited together and independently. A major fact that tied the group together was that they were exhilarated by contemporary developments in the color theory which helped their search for a more exact analysis of the effects of color and light in nature. They did not believe the shadows of objects were made up from its color with some brown or black added like it portrays. Instead they believed in greater depth that the shadow of an object was broken up with dashes of its complementary color, which is found to be very interesting. Impressionism is based on modernity, meaning faster pace and various improvements in the quality of daily life (Gersh-Nesic, n.d.). The key characteristics of Impressionism were light and its reflection, quickly painted surfaces, dots, dashes, separation of colors and letting the eye's perception mix them, commas and other short brushstrokes. These artists are known to jot down things faster and were called impressionists and their paintings eventually became known as Impressionism. The word "impressionist" in 1874 typically meant no skill but the group did not give up on the art they believed in, although they were rejected by academic institutions such as the French academy of fine arts and the Salon. By then end of the impressionist period artist no longer listened to the strict rules and did not care about the opinion of the salon, they were free to paint how they wanted and began to pursue their own ideas. This led to a growing revolution in art and is looked upon by many artists

The impressionist movement was a leap away from traditional art and a innovative style that would capture the hearts of many. Although, the elimination on detail and lines would be seen as blasphemous to true art to some. The new style of using light ground and working up with dark colors would breed some brilliant work. For instance, Vincent Van Gogh's painting entitled, "Starry Night" makes you really just want to sit and marvel in its beauty. Van Gogh's paintings seemed to be painted in quick passionate and precise strokes which effortlessly create unique and breathtaking pieces of art. Although, they were painted in passion I was blown away when I heard of the amount of detail and sketching that went into a lot of Van Gogh's work. I appreciate

Traditionalism is exactly what its name implies. Traditionalism sticks to the established traditions set forth by the academy. They look towards realism and religion for inspiration. The traditionalist believe their work to be like a picture from a history book. The works need to be virtuous, teach values, and be historically accurate. The research is part of the work’s appeal. On the complete opposite side is Avant-Garde. It is defend by Tate.org as “avant-garde was originally applied to innovative approaches to art making in the nineteenth and early twentieth centuries, it is applicable to all art that pushes the boundaries of ideas and creativity, and is still used today to describe art that is radical or reflects originality of vision.” With Traditionalism being the tried and true methods and Avant-Garde pushing the envelope, that leaves impressionism to be the middle man between the two. Impressionist look at realistic depictions of life, not just biblical stories. They also use more colors and less straight lines. You can see the brush strokes and the painter’s hand. Each school believes their art form to the best. Traditionalists cannot stand the unrefined style of Impressionism and Avant-Garde. Impressionist and Avant-Garde artist tolerate each other but believe the Academy and

The rest of the Impressionist soon adopted their, now, particular style. They typically forgot about chiaroscuro, and usually paid no attention to composition. Moreover, they adopted Monet’s quick sketchlike technique, where the final painting looked unfinished. Their goal was to capture the “constantly changing aspects of reality”. The impressionist style shared the desire to truthfully capture “tone and colour and the play of light” from the point of view of the observer. To really achieve this, quick, loose, and rough brushstrokes where often necessary. The new approach to painting mentioned above, came as a shock to the Parisian public, for they were so used to the Salon’s presentation of “only the smoothest of paint surfaces… the delicate, mother-of pearl transition of values”, that they considered the Impressionist paintings as “a fall into the abyss of deepest ignorance”, and a disgrace to traditional painting. In fact, art critic of the time, Ballu, wrote in the Chronique des Arts et de la

The Impressionism movement in art was followed by the Realism and Romantic periods. In complete contrast to Realism and Romanticism, with its detailed, accurate and photo-like paintings of contemporary life, Impressionism brought about more of a blurred reality to the canvas. Specific techniques Impressionist artists used were unblended colors and quick, short brush strokes with a unique play on light. An Impressionist artists' goal was to "objectively paint reality in terms of transient effects of light and color."(1) The Impressionist artist would place vibrantly contrasting colors directly on the canvas; which was a great contrast to the traditional art of blending somber colors. Not understanding, or accepting these new techniques, the Salon of the French Academy consistently rejected most artwork by Impressionist artist. These rejections from the Salon eventually forced a group of Impressionist painters to organize their own exhibitions; Exhibitions of the Independent Artists.

Impressionism art can be considered the first distinctly modern movement in painting, it was developed in Paris in the 1860’s but wasn’t first exhibited until 1874. Impressionist art turned away from the fine finish and detail that artist during the same time aspired to create. Impressionist captured or at least tried to capture momentary, and sensory effect of a scene. Impressionist didn’t rely heavily on realistic depictions of an object or scene, they loosed the brushwork and lightened their palettes to include intense pure colors. They didn’t follow the traditional linear perspective and clarity that previous art forms depicted to lesser ones. Many critics during the time faulted the impressionist paintings because of that

The period of Impressionism and Post Impressionism embarks from ca. 1860 to 1910 CE. For the Impressionists artists the main focus were the upper middle class, the city and restful activities. They emphasized in the outdoors, parks, sky, star, sun etc. in hope to obtain directly the effects of light and the atmosphere, this method was known as en plein air. This technique was influenced by the Japanese art and photography. They used strokes and touches of pure colors mostly white, almost never black. They were able to record or attain the shifting play of light on the surface of the object they were working on. This method allowed the artist to record the effect light had on the eyes of the spectator without concern for the physical aspect

The Impressionist period was a time of innovation. This created pressure on the artists to respond to the invention of the light bulb and the camera. Photography became popular with the middle class as it was cheaper and more accessible than portraiture. This forced painters to think outside the box and the impressionist art period was born. Painters, with this change, needed to experiment with different brush and colour techniques. They could reduce their attention to the subject matter and focus more on how they applied the paint. Realism was no longer the ideal in the artists eye (Impressionism, 2015, para 1). Landscapes became popular to paint with the innovation of tubed oil paints. Artists found it easier to transport their materials

During the Modern Era of the late 19th century and the early 20th century, many artists were turning away from the idea of painting realistic images. Photography, having just been developed for public use a few decades earlier, made artists of the day focus less on painting as an precise copy of what is seen, as had been done for centuries. Since the Middle Ages, most artists painted exact representations of life. Starting in the late 1800s, though, many artists were starting to embrace the theory of art as an impression of what is seen. Impressionism, the art movement that began in the 1870s in France, was the first real development of this new concept of painting. Impressionists, such as Claude Monet, sought to put on canvas how they

Beyond the simple fact that one (post-impressionism) cannot have existed without the other (impressionism) the revolutionary technique shared by both movements; small, generally circular or curved strokes, brilliant colors, use of light, and subject matter that reached beyond the traditional scope ties them together in a unique and easily identifiable manner. One cannot view Monet’s Impressions: soleil levant and Van Gogh’s Starry Night without instantly seeing the undeniable similarities; both artists’ use of light and deliberate brush strokes leave the viewer with little doubt about the artistic movements from which they came.