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the GREAT GALLERY OF THE IMPRESSIONISM

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Olivia Grady

on 15 May 2017

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Transcript of the GREAT GALLERY OF THE IMPRESSIONISM

The Impressionism Movement began in France in the 18th to the late 19th century. This style of painting shows life-like subjects, which could be considered the first distinctly modern movement in painting. The goal for the Impressionist was to turn away from the fine finish and detail to which most artist used before. The point of Impressionists work was to capture the moments of a scene ,subjects or to caught the objects in a fleeting glimpse. This influence spread throughout Europe and eventually the United States.
Rocks at Jávea. The White Boat
Manet,E,(1871)The Croquet Party (La partie de croquet)[medium oil on canvas45.72 x 73.03 cm45.72 x 73.03 cm],the Nelson -Atkins
Museum of Art
the GREAT GALLERY OF THE IMPRESSIONISM
Olivia GRADY
ART101: Art Appreciation
Instructor: Carrie Ann Wills
DATE: MAY 14,2017

The Croquet Party (La partie de croquet)
This portrait show a friendly game of croquet that
was used in the early times to have a casual romantic
relationship. The way the Impressionists loosened their brushwork and lightened their palettes to include pure, intense colors. The way the artist way able to capture the wind on the women's skirts. To achieve this effect, many Impressionist artists moved from the studio to the streets and countryside to really seize the moments in everyday life.
Sorolla y Bastida. J, (1905 - 1905)Rocas de Jávea y el bote blanco,[Oil on canvas w84.7 x h62.5 cm]
Colección Carmen Thyssen-Bornemisza on gratuitous loan to the Museo Carmen Thyssen Málaga.
This beautiful picture of the coastline is
breath taking. The materials used for this
painting was oil on canvas with a medium
tool to create this landscape. Artist would
used an easel to set up outside to capture the
world as they saw it. I am fascinated by how
the artist was able to reflected the light without
increasing the colors of his palette. A true impressionist likes to use all true colors and even the bold contrasts with blues and yellows,
violets and greens, make this painting so
rich and warm. The little white Boat displays
in the picture capture the fleeting eye.
Love at the Fountain of Life or Lovers at the Sources of Life
Segantini,G, (1858-1899),
Love at the fountain of life or Love in the Sources of Life
[oil on canvas, 72x100 cm.] Milano, Civiche Raccolte D'Arte Museo Dell'Ottocento Villa Belgiojoso Bonaparte


references;
:Love at the Fountain of Life or Lovers at the Sources of Life, by Giovanni Segantini, detail, 1896, oil on canvas. (2014). In Bridgeman Images (Ed.), Bridgeman images. London, UK: Bridgeman. Retrieved from http://search.credoreference.com.proxy-library.ashford.edu/content/entry/bridgemandeag/love_at_the_fountain_of_life_or_lovers_at_the_sources_of_life_by_giovanni_segantini_detail_1896_oil_on_canvas/1
:Old House, Dorchester, 1884 (oil on canvas). (2014). In Bridgeman Images (Ed.), Bridgeman images. London, UK: Bridgeman. Retrieved from http://search.credoreference.com.proxy-library.ashford.edu/content/entry/bridgemanchris/old_house_dorchester_1884_oil_on_canvas/0
Old House, Dorchester,
Childe,H,(1884)Old House, Dorchester,[Oil on canvas,40.8 x 51cm.] Private Collection
:Urban Nocturne, (oil on canvas). (2014). In Bridgeman Images (Ed.), Bridgeman images. London, UK: Bridgeman. Retrieved from http://search.credoreference.com.proxy-library.ashford.edu/content/entry/bridgemanchris/urban_nocturne_oil_on_canvas/0
Urban Nocturne
Paul,C,(1864-1923) Urban Nocturne,[Oil on canvas. 69 x 50.5cm.] Private Collection / Photo © Christie's Images / The Bridgeman Art Library

summary
The subject is a women who look to be sitting in the river as the water just flows right over her. The brilliant effects the artist created with the short and choppy brushstrokes to caught the vibrant light off of
her white dress. Impressionist applied colors side by side on the canvas without mixing them. This gives a vibrant surface texture allows for optical mixing of colors that happen within the viewers eye at a distance from the painting.
This painting of an
old house capture
the beauty of nature.
Making the portrait a
realistic scenes of modern life. By painting in sunlight directly from nature, this helps to produced bold use of the vivid synthetic pigments that had become available since the beginning of the century. This method began to develop a lighter and brighter manner of painting that created the paining to be more real.
The subject here is the city and this
painting shows the real view of how
the impressionist looks at the
imperfect world. Impressionist
paintings are unintelligible at
close range, but the eye fuses
the brushstrokes at a distance.
The agitated application of paint
contributes to the sense of energy
in this urban scene.

Every single one of these painting are an illustration of the social conventions, political events, and cultural influences during this ear. In the second half of the 19th century in Europe technology was developing quickly and dramatically. Industrialization had made a huge impact and the steam engine was becoming practical. Most of all photography had made enormous introduction. For the Impressionist painters photography could tell them what something looked like, but not how one saw it.This pushed Impressionists to looked at the world around them for their subject matter, at peasants, working class people, individuals engaged in everyday activities. The artists would put their heart and souls into their work making sure you could felt what the painting was tell you.They painted landscape as they actually saw it, rather than romanticizing it. And they sought out ways to bring their scenes to life with a freshness and spontaneity they felt was lacking in artwork.



Author; Ladonne, Jennifer. France Today. Jun/Jul2016,A LASTING IMPRESSION OF ARTISTIC NORMANDY Vol. 31 Issue 4, p96-100. 5p. , Database: Academic Search Complete
Authors; Jack, P. B. (2000). From david to ingres: Early 19th-century french artists / from renaissance to impressionism:
Styles and movements in western art, 1400-1900. Library Journal, 125(9), 82.
Retrieved from https://search.proquest.com/docview/196733000?accountid=32521
Girl with a Hoop
Pierre-Auguste Renoir,(1885),Girl with a Hoop,[Oil on canvas 49 1/2 × 30 3/16 in
125.7 × 76.7 cm],The National Gallery of Art, Washington, D.C.
:Pierre-Auguste Renoir,(1885),Girl with a Hoop,[Oil on canvas 49 1/2 × 30 3/16 in
125.7 × 76.7 cm],The National Gallery of Art, Washington, D.C..artsy.net
This painting represent a little girl just having fun outside. "Renoir developed a new style called "aigre" (sour), in which he applied thick, elongated brushstrokes to evoke natural movement in the backdrop and soft, textural brushstrokes complemented by hard lines to portray the young girl in the foreground." (artsy.net)
Author;Raine, Craig. New Statesman. 3/6/2015,The principle of moments, Vol. 144 Issue 5252, p54-57. 4p. 1 Color Photograph, 1 Black and White Photograph. , Database: Business Source Elite
:Manet,E,(1871)The Croquet Party (La partie de croquet)[medium oil on canvas45.72 x 73.03 cm45.72 x 73.03 cm],the Nelson -Atkins Museum of Art
Sorolla y Bastida. J, (1905 - 1905)Rocas de Jávea y el bote blanco,[Oil on canvas w84.7 x h62.5 cm]
Colección Carmen Thyssen-Bornemisza on gratuitous loan to the Museo Carmen Thyssen Málaga.
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