Impressionism (Leaving Cert Art): Revision Notes
Impressionism
What is Impressionism?
Impressionism was a revolutionary art movement that emerged in France during the 1870s. This movement completely transformed how artists approached painting, moving away from traditional academic styles to embrace a fresh, modern way of depicting the world around them.
Impressionism refers to a painting technique that emphasises the immediate visual impression of a moment, particularly the shifting effects of light and colour. The term originally came from critics who mocked the movement, saying the paintings looked like mere "impressions" rather than finished works of art.
The term "Impressionism" was initially meant as an insult by art critics who thought these paintings looked unfinished and sketchy compared to the highly polished academic works of the time. The artists eventually embraced this criticism and adopted the name for their movement.
Origins of the movement
The Impressionist movement officially began in 1874 when a group of independent artists organised their own exhibition in Paris. This group called themselves the Anonymous Society of Painters, Sculptors, Printmakers, and they were united by their rejection of the traditional art establishment.
The founding members included three key figures:
- Claude Monet - often considered the father of Impressionism
- Edgar Degas - known for his scenes of dancers and urban life
- Camille Pissarro - the only artist to participate in all eight independent exhibitions
These artists were frustrated with the official Salon - the prestigious annual exhibition where a jury selected which artworks could be displayed. The Salon favoured traditional, highly finished paintings, while these innovative artists wanted to show work that captured the spontaneity and energy of modern life.
The Paris Salon was the most important art exhibition in the Western world during the 19th century. Acceptance by the Salon jury could make an artist's career, while rejection often meant obscurity and financial hardship. This system of artistic gatekeeping forced many innovative artists to seek alternative venues for displaying their work.
This painting by Claude Monet demonstrates typical Impressionist subject matter - a leisure scene at a seaside resort, painted with loose brushwork and bright, natural colours.
Revolutionary techniques
Brushwork and painting style
Impressionist artists developed several groundbreaking techniques that shocked viewers accustomed to smooth, carefully blended academic paintings:
- Short, broken brushstrokes that remained visible rather than being smoothly blended
- Loose, sketchy application of paint that gave an unfinished appearance
- Quick, confident marks that captured the essence of a subject rather than every detail
- Painting outdoors (plein air) to observe natural light conditions directly
Plein Air Painting Technique:
Traditional artists worked in studios from sketches and memory, but Impressionists took their easels outdoors to paint directly from nature. This allowed them to:
- Observe how natural light changed throughout the day
- Capture atmospheric effects like mist, rain, or bright sunshine
- Work quickly to record fleeting moments
- Use fresher, more spontaneous brushwork
The emphasis on light
Rather than focusing on precise drawing and form, Impressionists prioritised the effects of natural light on their subjects. They observed how light changed throughout the day and tried to capture these fleeting moments on canvas. This meant:
- Shadows were painted in colour rather than just grey or black
- Highlights were rendered in pure, bright colours
- The same subject might be painted multiple times at different times of day to show changing light conditions
Revolutionary use of colour
New painting materials
The development of synthetic pigments in the 19th century gave Impressionist artists access to colours that had never been available before. These included:
- Cerulean blue and synthetic ultramarine for vivid sky tones
- Bright yellows and greens that were more intense than traditional earth pigments
- Pure colours straight from the tube, without mixing
Colour techniques
Impressionist artists revolutionised how colour was used in painting:
- They avoided the thick golden varnish traditionally used to tone down paintings
- Pure, unmixed colours were applied directly to create vibrant effects
- Colours were often placed side by side on the canvas, allowing the viewer's eye to mix them visually
- Complementary colours were used to create optical effects and enhance vibrancy
The Impressionists' use of pure, unmixed colours was revolutionary because it broke with centuries of artistic tradition. Academic painters had always mixed their colours on the palette to create subtle, harmonious tones. By placing pure colours directly on the canvas, Impressionists created paintings that seemed to glow with light and vibration.
This work by Jean-Frédéric Bazille shows the new approach to colour and outdoor painting that characterised the movement.
Subject matter and themes
Modern life
Impressionist artists were passionate about depicting contemporary subject matter rather than the historical, religious, or mythological scenes favoured by academic art. Their favourite subjects included:
- Leisure activities - boating, picnics, theatre visits, café scenes
- Urban scenes - busy Paris streets, railway stations, boulevards
- Suburban and rural life - weekend trips to the countryside
- Domestic moments - family life, daily routines
Pierre-Auguste Renoir's paintings are notable for their vibrant light and saturated colour, most often focusing on people in intimate and candid compositions.
The changing city of Paris
The renovation of Paris under Emperor Napoleon III (1853-1870) provided Impressionist artists with exciting new subject matter. The city's transformation included:
- Wide new boulevards and public gardens
- Modern railway lines connecting the city to the countryside
- Mixed social classes interacting in public spaces
- New forms of entertainment and leisure activities
Artists like Gustave Caillebotte painted the renovated city, while Edgar Degas focused on urban entertainment, depicting singers, dancers, and working people alongside the privileged classes.
The transformation of Paris during the mid-19th century created the modern city we know today. Baron Haussmann's urban planning project demolished mediaeval streets to create wide boulevards, parks, and modern infrastructure. This "new Paris" became a favourite subject for Impressionist artists, who were fascinated by modern urban life and its social dynamics.
Landscapes and nature
Landscape painting was updated with innovative approaches:
- Railways and factories were included to show industrialisation
- Suburban scenes replaced remote, untouched countryside
- Seasonal changes and weather effects became important subjects
- Tourist destinations and popular recreation spots were frequently painted
Evolution and development of the movement
Growth and change (1874-1886)
The independent collective organised eight exhibitions between 1874 and 1886. The membership was fluid, with different artists participating in different shows:
- Pissarro was the only artist to exhibit in all eight shows
- Morisot participated in seven exhibitions
- Some exhibitions included more conservative artists who weren't strictly Impressionist
- The Franco-Prussian War (1870-71) interrupted early plans and affected several artists
Fragmentation and new directions
By 1886, the final independent exhibition showed that the movement was evolving in different directions:
- Few artists were still working in a recognisably Impressionist style
- Georges Seurat and Paul Signac developed Neo-Impressionism, using systematic points of pure colour
- Paul Gauguin was exploring Primitivism
- The Symbolist movement was emerging
The fragmentation of Impressionism by 1886 wasn't a failure of the movement, but rather a natural evolution. The original Impressionist techniques and philosophy had liberated artists from academic conventions, giving them the freedom to explore new directions. This freedom led to the diverse range of Post-Impressionist and modern art movements that followed.
Individual artistic development
Core members began developing individual styles:
- Some artists moved towards more structured compositions
- Others explored new colour theories
- Commercial success led some artists to exhibit in traditional venues where their work would sell better
Legacy and impact
Influence on later movements
Impressionism's embrace of modernity and innovation made it the foundation for later avant-garde art movements in Europe. The movement's key contributions included:
- Freedom from academic rules about subject matter and technique
- Emphasis on personal artistic vision over traditional standards
- Direct observation of contemporary life
- Experimental approaches to colour and brushwork
The Impressionists' rejection of academic rules opened the door for all subsequent modern art movements. Without their pioneering example of artistic independence, movements like Fauvism, Cubism, and Abstract Expressionism might never have emerged.
Long-term significance
Despite initially being mocked by critics, Impressionism became recognised for its:
- Modernity in both technique and subject matter
- Rejection of established artistic conventions
- Integration of new technology and materials
- Authentic depiction of contemporary urban and suburban life
The movement's influence extended far beyond painting, affecting how people understood modern art and the artist's role in society.
Key Points to Remember:
- Impressionism began in 1874 with the first independent exhibition organised by artists rejected by the official Salon
- Key founding artists were Claude Monet, Edgar Degas, and Camille Pissarro. Other notable impressionists included Pierre-Auguste Renoir and Gustave Caillebote.
- Revolutionary techniques included broken brushstrokes, pure colours, and emphasis on natural light effects
- Modern subject matter focused on contemporary urban life, leisure activities, and changing landscapes
- The movement evolved and fragmented by 1886, leading to Post-Impressionist developments and later avant-garde movements