![]() This seemingly casual style became widely accepted, even in the official Salon, as the new language with which to depict modern life. The artists’ loose brushwork gives an effect of spontaneity and effortlessness that masks their often carefully constructed compositions, such as in Alfred Sisley’s 1878 Allée of Chestnut Trees ( 1975.1.211). Rather than neutral white, grays, and blacks, Impressionists often rendered shadows and highlights in color. It demonstrates the techniques many of the independent artists adopted: short, broken brushstrokes that barely convey forms, pure unblended colors, and an emphasis on the effects of light. Their work is recognized today for its modernity, embodied in its rejection of established styles, its incorporation of new technology and ideas, and its depiction of modern life.Ĭlaude Monet’s Impression, Sunrise (Musée Marmottan Monet, Paris) exhibited in 1874, gave the Impressionist movement its name when the critic Louis Leroy accused it of being a sketch or “impression,” not a finished painting. The exhibiting collective avoided choosing a title that would imply a unified movement or school, although some of them subsequently adopted the name by which they would eventually be known, the Impressionists. Edmond Duranty, for example, in his 1876 essay La Nouvelle Peinture (The New Painting), wrote of their depiction of contemporary subject matter in a suitably innovative style as a revolution in painting. While conservative critics panned their work for its unfinished, sketchlike appearance, more progressive writers praised it for its depiction of modern life. The independent artists, despite their diverse approaches to painting, appeared to contemporaries as a group. The group was unified only by its independence from the official annual Salon, for which a jury of artists from the Académie des Beaux-Arts selected artworks and awarded medals. Its founding members included Claude Monet, Edgar Degas, and Camille Pissarro, among others. organized an exhibition in Paris that launched the movement called Impressionism. During these years, Monet faced serious financial difficulties and struggled to establish commercial success as an artist.In 1874, a group of artists called the Anonymous Society of Painters, Sculptors, Printmakers, etc. ![]() The group got their name from the artist and critic Louis Leroy, who, upon seeing the exhibition, coined the term “impressionists” as a pejorative. He completed his famed painting Impression, Sunrise in 1872, and that work would debut two years later in the first Impressionist exhibition organized by the Société Anonyme des Artistes on the Boulevard des Capucines in Paris. Over the next few years, the artist embarked on several major projects. While Monet was still living in London, his work was excluded from an 1871 exhibition at the Royal Academy, and later that year he would return to France to live in the Parisian suburb of Argenteuil. Monet’s works are largely rejected by major institutions in the early 1870s. ![]() Turner.Ĭlaude Monet, Impression, Sunrise, 1872, oil on canvas. Also in London, Monet would be influenced by the landscapes of John Constable and J. Durand-Ruel would become closely associated with the Impressionists as an advocate of their avant-garde style. ![]() That same year, the couple fled the chaos Franco-Prussian War for London, where Monet met the dealer Paul Durand-Ruel. Monet and Doncieux married in 1870 after the birth of their first son, Jean. Though not yet fully formed in the latter painting, Monet’s signature style would ultimately represent a radical rejection of the dominant mode at the time, realism, which privileged imagery that looked a lot like life itself. Monet painted his lover Camille-Léonie Doncieux in a number of his early paintings, including Camille (The Woman in the Green Dress), a figurative painting from 1866 depicting a woman flaunting the long train of her emerald dress, and On the Bank of the Seine, Bennecourt (1868), which shows an idyllic riverside view and hints at the development of Monet’s impressionistic mark-making. Some of Monet’s earliest works featured Camille-Léonie Doncieux. Claude Monet, On the Bank of the Seine, Bennecourt, 1868, oil on canvas.
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