Berthe Marie Pauline Morisot was a French painter and a member of the circle of painters in Paris who became known as the Impressionists.
Édouard Manet was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism.
Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities, ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.
Mary Stevenson Cassatt was an American painter and printmaker. She was born in Allegheny, Pennsylvania, and lived much of her adult life in France, where she befriended Edgar Degas and exhibited with the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.
American Impressionism was a style of painting related to European Impressionism and practiced by American artists in the United States from the mid-nineteenth century through the beginning of the twentieth. The style is characterized by loose brushwork and vivid colors with a wide array of subject matters but focusing on landscapes and upper-class domestic life.
Events from the year 1880 in art.
Lilla Cabot Perry was an American artist who worked in the American Impressionist style, rendering portraits and landscapes in the free form manner of her mentor, Claude Monet. Perry was an early advocate of the French Impressionist style and contributed to its reception in the United States. Perry's early work was shaped by her exposure to the Boston School of artists and her travels in Europe and Japan. She was also greatly influenced by Ralph Waldo Emerson's philosophies and her friendship with Camille Pissarro. Although it was not until the age of thirty-six that Perry received formal training, her work with artists of the Impressionist, Realist, Symbolist, and German Social Realist movements greatly affected the style of her oeuvre.
Charles Auguste Émile Durand, known as Carolus-Duran, was a French painter and art instructor. He is noted for his stylish depictions of members of high society in Third Republic France.
Eva Gonzalès was a French Impressionist painter. She was one of the four most notable female Impressionists in the nineteenth century, along with Mary Cassatt (1844–1926), Berthe Morisot (1841–95), and Marie Bracquemond (1840–1916).
Félix Henri Bracquemond was a French painter, etcher, and printmaker. He played a key role in the revival of printmaking, encouraging artists such as Édouard Manet, Edgar Degas and Camille Pissarro to use this technique.
Marie Bracquemond was a French Impressionist artist. She was one of four notable women in the Impressionist movement, along with Mary Cassatt (1844-1926), Berthe Morisot (1841-1895), and Eva Gonzalès (1847-1883). Bracquemond studied drawing as a child and began showing her work at the Paris Salon when she was still an adolescent. She never underwent formal art training, but she received limited instruction from Jean-Auguste-Dominique Ingres (1780–1867) and advice from Paul Gauguin (1848–1903) which contributed to her stylistic approach.
The terms California Impressionism and California Plein-Air Painting describe the large movement of 20th century artists who worked out of doors, directly from nature in California, United States. Their work became popular in the San Francisco Bay Area and Southern California in the first three decades after the turn of the 20th century. Considered to be a regional variation on American Impressionism, the California Impressionists are a subset of the California Plein-Air School.
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.
Edma Morisot was a French artist and the older sister of the Impressionist painter Berthe Morisot.
Under the Lamp, also known as Sous la lampe - Afred Sisley et sa femme, chez Bracquemond à Sèvres, is an 1887 oil-on-canvas painting by French artist Marie Bracquemond. It is held in a private collection.
Afternoon Tea is an 1880 oil-on-canvas painting by French artist Marie Bracquemond. It is a portrait of the artist's half-sister Louise Quivoron, who often served as a model for her paintings, reading in a garden at Bracquemond's home in the Parisian suburb of Sèvres. The work was shown during an exhibition in 1919 and purchased by the French government from Bracquemond's son Pierre. It is now in the collection of the Petit Palais, Musée des Beaux-Arts de la Ville de Paris. It is one of her few works held in a public collection. The theme of the work reflects the intellectual activities of the lives of women, and can be compared to related works such as Mary Cassatt’s The Reader (1877) and Harriet Backer’s Evening (1890).
On the Terrace at Sèvres is the title of at least two 1880 oil-on-canvas paintings with the same subject by French artist Marie Bracquemond. A larger version is held by the Musée du Petit Palais in Geneva, Switzerland, while a smaller version is held by the Artizon Museum, Ishibashi Foundation, in Tokyo, Japan.
Three Women with Parasols, also known as The Three Graces, is an 1880 oil-on-canvas painting by French artist Marie Bracquemond. The painting depicts three women wearing the then fashionable style of ruffled dresses with high bodices. The woman in the middle holds a fan in the popular style of Japonisme. Marie's half-sister Louise Quivoron was the model for the two figures on each side while Bracquemond based the central figure on her own likeness. Bracquemond produced several studies for the work, and one may have been shown in 1886 at the eighth Impressionist exhibition. The work is often known by the moniker of The Three Graces, referring to the three goddesses of the Charites from Roman mythology who appear as a common theme in Western art. Art historians refer to the painting as one of the most impressionistic works Bracquemond produced during this period. French art critic Gustave Geffroy was so taken with the work that he purchased it from Bracquemond and hung it in the Luxembourg Palace. The work was received by the Musée du Luxembourg through the bequest of Geffroy in 1926, where it appeared for the next ten years. In 1936, it was moved to Chemillé City Hall where it stayed until 2013 when it was acquired by the Musée d’Orsay.
The First Impressionist Exhibition was an art exhibition held by the Société anonyme des artistes peintres, sculpteurs, graveurs, etc., a group of nineteenth-century artists who had been rejected by the official Paris Salon and pursued their own venue to exhibit their artworks. The exhibition was held in April 1874 at 35 Boulevard des Capucines, the studio of the famous photographer Nadar. The exhibition became known as the "Impressionist Exhibition" following a satirical review by the art critic Louis Leroy in the 25 April 1874 edition of Le Charivari entitled "The Exhibition of the Impressionists". Leroy's article was the origin of the term Impressionism.
