Impressionist

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qt86878
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214794
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Impressionist
Updated:
2013-04-21 10:09:52
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Post Impressionism n Neo
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Post-Impressionism Neo-Impressionism
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  1. Monet, Impression: Sunrise 1872
  2. Monet, Saint-Lazare Train Station 1877
  3. Renoir, Le Moulin de la Galette 1876
  4. Degas, The Rehearsal 1874
  5. Degas, The Tub 1886
  6. Cassatt, The Bath c. 1892
    • Hokusai, The Great Wave off Kanagawa, from
    • Thirty-six Views of Mount Fuji, Edo period c. 1826-1833
    • Hiroshige, Plum Estate, Kameido, from
    • One Hundred Famous Views of Edo, Edo period 1857
  7. Seurat, A Sunday on La Grande Jatte 1884-1886
  8. Van Gogh, Night Cafe 1888
  9. is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions
    brought them to prominence during the 1870s and 1880s, in spite of
    harsh opposition from the conventional art community in France. The name
    of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari.
    Impressionism
  10. Gauguin, Vision after the Sermon 1888
    • Gauguin, Where So We Come From? What
    • Are We? Where Are We Going? 1897
  11. Cézanne, Basket of Apples c. 1895
  12. Cézanne, Mont Sainte-Victoire 1902-1904
  13. Munch, The Scream 1893
  14. s the term coined by the British artist and art critic Roger Fry in 1910 to describe the development of French art since Manet. Fry used the term when he organized the 1910 exhibition Manet and the Post-Impressionists. Post-Impressionists extended Impressionism
    while rejecting its limitations: they continued using vivid colours,
    thick application of paint, distinctive brush strokes, and real-life
    subject matter, but they were more inclined to emphasize geometric
    forms, to distort form for expressive effect, and to use unnatural or
    arbitrary colour.
    Post-Impressionism
  15. 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 greatest 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 (Salon des Indépendants) in Paris.[1] 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.[2] Pointillism technique is often mentioned, because it was the dominant technique in the beginning.
  16. alla prima
    • s a painting technique, used mostly in oil painting,
    • in which layers of wet paint are applied to previous layers of wet
    • paint. This technique requires a fast way of working, because the work
    • has to be finished before the first layers have dried. It may also be
    • referred to as 'direct painting' or the French term au premier coup (at first stroke).
  17. en plein air
    is a French expression which means "in the open air," and is particularly used to describe the act of painting outdoors, which is also called peinture sur le motif ("painting on the ground") in French.
  18. Ukiyo-e
    is a genre of Japanese woodblock prints (or woodcuts) and paintings produced between the 17th and the 20th centuries, featuring motifs of landscapes, tales from history, the theatre, and pleasure quarters. It is the main artistic genre of woodblock printing in Japan.
  19. Japonisme
    is the influence of the arts of Japan on those of the West. In France the term Japonisme also refers to a specific French style.[2] In England objects influenced by Japonism were termed Anglo-Japanese from as early as 1851.
  20. fin-de-sìecle
    • is French for end of the century. The term typically encompasses not only the meaning of the similar English idiom turn of the century,
    • but also both the closing and onset of an era, as it was felt to be a
    • period of degeneration, but at the same time a period of hope for a new
    • beginning.[1]
    • The "spirit" of fin de siècle often refers to the cultural hallmarks
    • that were recognized as prominent in the 1880s and 1890s, including boredom, cynicism, pessimism, and a widespread belief that civilization leads to decadence.

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