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Throughout history, forms of art have gone through periodic abrupt changes called artistic revolutions. Movements have come to an end to be replaced by a new movement markedly different in striking ways.
1 Not all artistic revolutions were political. Sometimes, science and technological innovations have brought about unforeseen transformations in the works of artists. The stylistic revolution known as Impressionism, by painters eager to more accurately capture the changing colors of light and shadow, is inseparable from discoveries and inventions in the mid-19th century in which the style was born.
Michel Eugène Chevreul, a French chemist hired as director of dyes at a French tapestry works, began to investigate the optical nature of color in order to improve color in fabrics. Chevreul realized It was the eye, and not the dye, that had the greatest influence on color, and from this, he revolutionized color theory by grasping what came to be called the law of simultaneous contrast: that colors mutually influence one another when juxtaposed, each imposing its own complementary color on the other. The French painter Eugène Delacroix, who had been experimenting with what he called broken tones, embraced Chevreul's book, The Law of Contrast of Color (1839) with its explanations of how juxtaposed colors can enhance or diminish each other, and his exploration of all the visible colors of the spectrum. Inspired by Chevreul's 1839 treatise, Delacroix passed his enthusiasm on to the young artists who were inspired by him. It was Chevreul who led the Impressionists to grasp that they should apply separate brushstrokes of pure color to a canvas and allow the viewer's eye to combine them optically. [1]
They were aided greatly in this by innovations in oil paint itself. Since the Renaissance, painters had to grind pigment, add oil and thus create their own paints; these time-consuming paints also quickly dried out, making studio painting a necessity for large works, and limiting painters to mix one or two colors at a time and fill in an entire area using just that one color before it dried out. In 1841, a little-known American painter named John G. Rand invented a simple improvement without which the Impressionist movement could not have occurred: the small, flexible tin tube with removable cap in which oil paints could be stored. [2] Oil paints kept in such tubes stayed moist, usable, and portable. For the first time since the Renaissance, painters were not trapped by the time frame of how quickly oil paint dried.
Paints in tubes could be easily loaded up and carried out into the real world, to directly observe the play of color and natural light, in shadow and movement, to paint in the moment. Selling the oil paint in tubes also brought about the arrival of dazzling new pigments - chrome yellow, cadmium blue - invented by 19th century industrial chemists. The tubes freed the Impressionists to paint quickly, and across an entire canvas, rather than carefully delineated single-color sections at a time; in short, to sketch directly in oil - racing across the canvas in every color that came to hand and thus inspiring their name of "impressionists" - since such speedy, bold brushwork and dabs of separate colors made contemporary critics think their paintings were mere impressions, not finished paintings, which were to have no visible brush marks at all, seamless under layers of varnish.
Pierre-Auguste Renoir said, “Without colors in tubes, there would be no Cézanne, no Monet, no Pissarro, and no Impressionism.” [3]
Finally, the careful, hyper-realistic techniques of French neo-classicism were seen[ by whom? ] as stiff and lifeless when compared to the remarkable new vision of the world as seen through the new invention of photography by the mid-1850s. It was not merely that the increasing ability of this new invention, particularly by the French inventor Daguerre, made the realism of the painted image redundant as he deliberately competed in the Paris diorama with large-scale historical paintings. [4] The neo-classical subject matter, limited by Academic tradition to Greek and Roman legends, historical battles and Biblical stories, seemed oppressively clichéd and limited to artists eager to explore the actual world in front of their own eyes revealed by the camera - daily life, candid groupings of everyday people doing simple things, Paris itself, rural landscapes and most particularly the play of captured light - not the imaginary lionizing of unseen past events. [5] Early photographs influenced Impressionist style by its use of asymmetry, cropping and most obviously the blurring of motion, as inadvertently captured in the very slow speeds of early photography.
Edgar Degas, Claude Monet, Pierre-Auguste Renoir - in their framing, use of color, light and shadow, subject matter - put these innovations to work to create a new language of visual beauty and meaning.
Their initial break with realism into an exploration of light, color and the nature of paint was brought to an ultimate conclusion by the abstract expressionists who broke away from recognizable content of any kind into works of pure shape, color and painterliness which emerged at the end of the Second World War. At first thought of[ by whom? ] as primitive, inept works - as in "my four year old could do that - these works were misunderstood and neglected until given critical and support by the rise of art journalists and critics who championed their work in the 1940s and 50s, expressing the power of such work in aesthetic terms the artists themselves seldom used, or even understood. Jackson Pollock who pioneered splatter painting, dispensing with a paint brush altogether, soon became lionized as the angry young man in a large spread in Life magazine.
In fact, in a deliberate, secret and successful effort to separate artistic revolutions from political ones, abstract expressionists like Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko, while seemingly difficult, pathbreaking artists, were in fact secretly supported for twenty years by the Central Intelligence Agency (CIA) in a Cold War policy begun in 1947 to prove that the United States could foster more artistic freedom than the Soviet bloc. [6] "It was recognized that Abstract Expressionism was the kind of art that made Socialist Realism look even more stylized and rigid and confined than it was," said former CIA case worker Donald Jameson, who finally broke the silence on this program in 1995. Ironically, the covert CIA support for these radical works was required because an attempt to use government funds for a European tour of these works during the Truman administration led to a public uproar in conservative McCarthy-era America, with Truman famously remarking, "If that's art, I'm a Hottentot." Thus, the program was hidden under the guise of fabricated foundations and the support of wealthy patrons who were actually using CIA funds, not their own, to sponsor traveling exhibitions of American abstract expressionists all over the world, publish books and articles praising them and to purchase and exhibit abstract expressionist works in major American and British museums. Thomas Braden, in charge of these cultural programs for the CIA, in the early years of the Cold War, had formerly been executive secretary of the Museum of Modern Art, America's leading institution for 20th century art and the charges of collusion between the two echoed for many years after this program was revealed, though most of the artists involved had no idea they were being used in this way and were furious when they found out. [7]
Oil painting is the process of painting with pigments with a medium of drying oil as the binder. It has been the most common technique for artistic painting on canvas, wood panel or copper for several centuries, spreading from Europe to the rest of the world. The advantages of oil for painting images include "greater flexibility, richer and denser colour, the use of layers, and a wider range from light to dark". But the process is slower, especially when one layer of paint needs to be allowed to dry before another is applied.
En plein air, or plein-air painting, is the act of painting outdoors.
Georges Pierre Seurat was a French post-Impressionist artist. He devised the painting techniques known as chromoluminarism and pointillism and used conté crayon for drawings on paper with a rough surface.
Abstract Expressionism in the United States emerged as a distinct art movement in the immediate aftermath of World War II and gained mainstream acceptance in the 1950s, a shift from the American social realism of the 1930s influenced by the Great Depression and Mexican muralists. The term was first applied to American art in 1946 by the art critic Robert Coates. Key figures in the New York School, which was the epicenter of this movement, included such artists as Jackson Pollock, Franz Kline, Mark Rothko, Norman Lewis, Willem de Kooning and Theodoros Stamos among others.
Abstract Impressionism is an art movement that originated in New York City, in the 1940s. It involves the painting of a subject such as real-life scenes, objects, or people (portraits) in an Impressionist-style, but with an emphasis on varying measures of abstraction. The paintings are often painted en plein air, an artistic style involving painting outside with the landscape directly in front of the artist. The movement works delicately between the lines of pure abstraction and the allowance of an impression of reality in the painting.
Oil paint is a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirit, and varnish may be added to increase the glossiness of the dried oil paint film. The addition of oil or alkyd medium can also be used to modify the viscosity and drying time of oil paint. Oil paints were first used in Asia as early as the 7th century AD and can be seen in examples of Buddhist paintings in Afghanistan. Oil-based paints made their way to Europe by the 12th century and were used for simple decoration, but oil painting did not begin to be adopted as an artistic medium there until the early 15th century. Common modern applications of oil paint are in finishing and protection of wood in buildings and exposed metal structures such as ships and bridges. Its hard-wearing properties and luminous colors make it desirable for both interior and exterior use on wood and metal. Due to its slow-drying properties, it has recently been used in paint-on-glass animation. The thickness of the coat has considerable bearing on the time required for drying: thin coats of oil paint dry relatively quickly.
Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself."
Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Seurat's most renowned masterpiece, A Sunday Afternoon on the Island of La Grande Jatte, marked the beginning of this movement when it first made its appearance at an exhibition of the Société des Artistes Indépendants in Paris. Around this time, the peak of France's modern era emerged and many painters were in search of new methods. Followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced Neo-Impressionists' characterization of their own contemporary art. The Pointillist and Divisionist techniques are often mentioned in this context, because they were the dominant techniques in the beginning of the Neo-Impressionist movement.
Painting – artwork in which paint or other medium has been applied to a surface, and in which area and composition are two primary considerations.
Divisionism, also called chromoluminarism, is the characteristic style in Neo-Impressionist painting defined by the separation of colors into individual dots or patches that interact optically.
The history of Western painting represents a continuous, though disrupted, tradition from antiquity until the present time. Until the mid-19th century it was primarily concerned with representational and Classical modes of production, after which time more modern, abstract and conceptual forms gained favor.
Painting is a visual art, which is characterized by the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used.
Mont Sainte-Victoire is a series of oil paintings by French artist Paul Cézanne.
The Magpie is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy. Monet's patron, Louis Joachim Gaudibert, helped arrange a house in Étretat for Monet's girlfriend Camille Doncieux and their newborn son, allowing Monet to paint in relative comfort, surrounded by his family.
Asnières, now named Asnières-sur-Seine, is the subject and location of paintings that Vincent van Gogh made in 1887. The works, which include parks, restaurants, riverside settings and factories, mark a breakthrough in van Gogh's artistic development. In the Netherlands his work was shaped by great Dutch masters as well as Anton Mauve a Dutch realist painter who was a leading member of the Hague School and a significant early influence on his cousin-in-law van Gogh. In Paris van Gogh was exposed to and influenced by Impressionism, Symbolism, Pointillism, and Japanese woodblock print genres.
Coucher de soleil no. 1 is an oil painting created circa 1906 by the French artist and theorist Jean Metzinger (1883–1956). Coucher de soleil no. 1 is a work executed in a mosaic-like Divisionist style with a Fauve palette. The reverberating image of the Sun in Metzinger's painting is an homage to the decomposition of spectral light at the core of Neo-Impressionist color theory.
Le Chahut is a Neo-Impressionist painting by Georges Seurat, dated 1889–90. It was first exhibited at the 1890 Salon de la Société des Artistes Indépendants in Paris. Chahut became a target of art critics, and was widely discussed among Symbolist critics.
Imperial Fritillaries in a Copper Vase is an oil painting on canvas created by the post-impressionist painter Vincent van Gogh in Paris, 1887. The painting is now part of the collection of the Musée d'Orsay in Paris, France. This work was made at a time of the life of Van Gogh when he first encountered influences from Impressionists and became aware of light and color, implementing it in his paintings. This painting presages some of his most famous subsequent works, and stands out from other still lifes because of the implementation of mixed techniques and complementary colors.
Mountains and Sea is a 1952 painting by American abstract expressionist painter Helen Frankenthaler. Painted when Frankenthaler was 23 years old, it was her first professionally exhibited work. Though initially panned by critics, Mountains and Sea later became her most influential and best known canvas.
On a French River is an impressionist oil painting on canvas painted by the artist Emma Lampert Cooper during the late 1800s. It is a landscape painting that depicts a river scene in Parthenay, France. It is part of the permanent collection at the Memorial Art Gallery (MAG) in Rochester, New York.Emma Lampert Cooper's husband, Colin Campbell Cooper, also produced similar paintings in the same location when they traveled together. Specifically, the paintings titled Port St. Jacques, Parthenay, France, and A View of a European Village. Both of these paintings have been auctioned in the past and are privately owned.