Impressionism: A Revolution in Art and the Birth of Modern Painting
The Rise of Impressionism: A Revolution in 19th-Century Art
The French bourgeois revolution achieved its goals, which were already well consolidated. The development of capitalism and industrialization meant that the upper and middle classes were going to collect the field. The Academy organized art, and the artist had no direct relationship with the buyer. The Academy ordered customers, and this was carried out through a set of fixed rules. The artist had to work with a theme that could be tied to them. Generally, it was not an autonomous art: works were not studied directly, and freedom of shape, color, and volume were only a means to different ideas and values. Art was at the service of the church, the highest customer, and the rules were set: biblical themes, symbols, etc. Art was also at the service of the aristocracy, and it could be used to explain the dignity of the characters in portraits. Nudes and gods were only in the studio working on landscapes, and paintings. Impressionism passed legislation of this century’s naturalistic aesthetic: until the end of the century, the first steps towards autonomy were taken.
The Shift Towards Artistic Freedom in the 19th Century
As the 19th century progressed, it created a wide range of scientific discoveries, and industrialization continuously developed. This new phase of capitalism created a large social group: the middle class. This dynamic group was liberal, and its aesthetic taste was not the most traditional hierarchical set of regulations of the aristocracy and upper middle class. These new customers gave sovereignty to artists, and groups of artists met to organize their own exhibitions and sales outside of the Official Salon of the Academy until the buyer directly or through merchants ran them. Impressionism broke with traditional painting and was the starting point of 20th-century art. In the 1870s, a group of young people decided to walk away from academic conventionalism. Their hobby was painting the landscape outdoors, and they realized that the light was not always the same. Therefore, they decided to confront the problem of representing it clearly. Previously, there had also been attempts to imagine the atmosphere in painting (Leonardo, Tiziano, Velázquez, Rembrandt). Impressionism had its own characteristics, as well as being a seasonal phenomenon in contemporary society. But the young painters had to endure very sharp criticism: Manet’s 1863 Le Déjeuner sur l’herbe created a huge scandal in traditional sectors. In this negative atmosphere, great artists were among them: Manet and Renoir, for example, painted the River Seine together. These artists were not intuitive; they worked fast with in-depth study of the techniques. Let’s look at the technical characteristics:
Color Theory
For the first time, there would be no excuse for the topic of scientific study of color and light. At the end of the 19th century, Chevreul’s optical theory of “color” was best known to artists. There are three basic colors, and according to the three components, respectively, the third additional two basic colors are mixed. But instead of a brush, they mixed the basic colors for a touch of the viewer’s eyes close. Black does not exist; therefore, there are light-dark contrasts at all.
The New Valuation of Light
In Impressionism, the representation of reality through shades of light was the task. Forget the object and palette: the color of light is important to learn as a mode of painting, and light shades are like many of the network.
Painting the Same Subject Multiple Times
To paint the same subject, often the light, minor, or the intensity of the sun, fog, or extremely closed colors were used. Dark shadows would not be painted with additional color, and this would be the light-dark light.
Brushstrokes and the Disappearance of Drawing
To better represent the atmosphere, the drawing disappeared, and the predominant color was a juxtaposition for which the technique was used to create light and loose pasty spots that were to be affected by the strong and short brushstrokes.
New Topics
Painters wanted to know nothing about the workshops. They focused on the representation of objective reality, the reality of everyday, rural and urban ambiance, the light box, and the width of the exit. The influence of other artists would pose a problem: according to time and that of time. Light, living nature is variable; access to an important time for deer will. Meet the requirements of this new technique is fast becoming a change: a one-time, light, color, and atmosphere must be accessed in a single session since the artist’s brushstrokes are necessarily freed and relaxed, and the picture remains incomplete. During this time, the development of photographic techniques and photos could boost autonomy, and it would be a great way to paint because reality is loose to express normal functions. Photos from here will fill portraits and paintings, and as we have seen, it opened up 20th-century Impressionism. It was an avant-garde movement, meaning it cannot be a full avant-garde movement of Impressionism does the same. These were not the characteristics of Impressionism; we find no common ideology as a group to carry out the aesthetic fellowship together, and he also encouraged to form relationships or to show common, but it was not a specific program.