Art 109: Renaissance to Modern Westchester Community College Prof. M. Hall © Spring 2011 Impressionism: Painters of Color and Light monet A New Way of Seeing 1210 The Impressionists also initiated a revolution in style They strove to capture an instantaneous moment of vision Claude Monet. Impression: Sunrise, 1874 Musée Marmottan Plein Air Painting monet-painting-at-argenteuil For their outdoor scenes, the Impressionists pioneered plein air painting – which means painting out of doors, directly on the spot “My studio! But I never had one, and personally I don’t understand why anybody would want to shut themselves up in some room. Maybe for drawing, sure; but not for painting.” Claude Monet Pierre-Auguste Renior, Monet painting in his garden at Argenteuil, 1873 Wadsworth Atheneum, Hartford Plein Air Painting This was made possible by the invention of manufactured paints available in tubes “Without colors in tubes, there would be no Cezanne, no Monet, no Pissaro, and no impressionism.” Pierre-Auguste Renoir Image source: http://www.artsupplies.co.uk/colours-winsor-&-newton-artists-oil-paint-37ml-tubes.htm Plein Air Painting Monet_working_on_his_boat_1874 The Impressionists strove to capture the natural effects of outdoor light Edouard Manet, Monet Working on his Boat at Argenteuil, 1874 Neue Pinakothek, Munich Plein Air Painting Landscape painting before Impressionism was unnaturally dark, because they were painted on a dark background Carl Julius von Leypold , Wanderer in the Storm, 1835 Metropolitan Museum Plein Air Painting The Impressionists primed their canvas with a white background, rather than the dark colors used by their predecessors Gesso being applied to a masonite board Image source: http://www.finearttips.com/2009/03/gesso-a-masonite-panel/ Color palette_impressionist_unlabeled They eliminated “half tones” from their palette Rather than mixing colors on their palette, they applied pure color to the canvas palette_traditional Image source: http://www.ncartmuseum.org/artnc/object.php?themeid=6&objectid=50&scrollerViewAll=1 Color monet They painted with dabs of pure color Divisionist technique: color mixes in the eye Color They also eliminated black from their palette palette_impressionist_unlabeled palette_traditional Image source: http://www.ncartmuseum.org/artnc/object.php?themeid=6&objectid=50&scrollerViewAll=1 Color Like Vermeer, they discovered that shadows are not “colorless” or gray 21wjug2 palette_impressionist_unlabeled palette_traditional Image source: http://www.ncartmuseum.org/artnc/object.php?themeid=6&objectid=50&scrollerViewAll=1 Color They applied new scientific theories about color colourwheel palette_impressionist_unlabeled palette_traditional Image source: http://www.ncartmuseum.org/artnc/object.php?themeid=6&objectid=50&scrollerViewAll=1 A New Way of Seeing 1210 The intensity of the sun in Monet’s Impression Sunrise is a result of the use of complimentary colors Claude Monet. Impression: Sunrise, 1874 Musée Marmottan Monet_working_on_his_boat_1874 Paint What You See, Not What You Know “When you go out to paint, try to forget what objects you have before you -- a tree, a house, a field, or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naïve impression of the scene before you.” Claude Monet Edouard Manet, Monet Working on his Boat at Argenteuil, 1874 Neue Pinakothek, Munich Paint What You See, Not What You Know William-Adolphe_Bouguereau_(1825-1905)_-_Breton_Brother_and_Sister_(1871) Academic painters painted every detail They painted what they knew, not what they actually could see Adolphe-William Bouguereau, Breton Brother and Sister, 1871 Metropolitan Museum “When we look at a landscape, or a crowd of people, we do not instantly see every face, or leaf in detailed focus, but as a mass of colour and light. Impressionist painters tried to express this experience.” The figures are no longer individuals, but rapidly applied dabs of paint – and the water is filled with a myriad of colors Up close, the painting is abstract We must back away some distance for the brushstrokes to cohere, and for the picture to come into focus Capturing the Moment In the 1880’s Monet began painting in series His Haystack series shows a haystack under changing lighting and atmospheric conditions Claude Monet, Haystack, Sunset, 1891 Museum of Fine Arts, Boston We must back away some distance for the brushstrokes to cohere, and for the picture to come into focus Capturing the Moment In the 1880’s Monet began painting in series His Haystack series shows a haystack under changing lighting and atmospheric conditions Claude Monet, Haystack, Sunset, 1891 Museum of Fine Arts, Boston Capturing the Moment Monet painted at least twenty-five wheatstack canvases though the fading of fall into the snows of winter 1891 . . .” Art Institute of Chicago Claude Monet, Stack of Wheat, 1890/91 Art Institute of Chicago Capturing the Moment Claude Monet, Haystack, Sunset, 1891 Museum of Fine Arts, Boston Claude Monet, Stack of Wheat, 1890/91 Art Institute of Chicago Capturing the Moment Monet also did a series on the façade of Rouen Cathedral He painted the same subject at different times of day and under different lighting and atmospheric conditions Claude Monet, Rouen Cathedral: The Portal (Sunlight), 1894 Metropolitan Museum Picture 28 http://www.mcah.columbia.edu/monet/swf/ Capturing the Moment Something significant has happened to art Art is no longer involved with “storytelling” Art is more about the “picture” than about the thing that is represented Claude Monet, Rouen Cathedral: The Portal (Sunlight), 1894 Metropolitan Museum 1405.jpg Capturing the Moment Next stop – abstraction! Wassily Kandinsky, Improvisation 28 (second version), 1912 Guggenheim Museum

she is going to focus on Impressionist weekend I titled this one Painters of Color in line He . the Impressionists also initiated a revolution in style They strove to capture the instantaneous moment of vision . first of all for the outdoor scenes the Impressionists in the Impressionists pioneered Plein air painting which means painting out of doors directly on the spot . on this was not done before paintings in the past week not make their pictures on the spot The Michael out to do some sketching . but most landscape paintings were done in the studio one is doing so they don't look very truthful to the way nature actually looks on but The Impressionists one day Katie to display Near apprentice because he here this is the painting by Renoir killing Monet out in the outside with his new solo small canvas and painting the paintingThe garden here money once at my studio but I've never had one and personally I don't understand why anybody would want to themselves up in some room . now this made possible by the invention of manufactured paints available into the artist would not have been able to be as normal as the work for it not for the industrial revolution and on the availability of paint in the sport too . strove to the natural effects of outdoor light money was so dedicated to this he did a lot of Painting The love to paint water and actually built himself a bloke with the studio so that he could be on the spot and he could paint . he copied water . the painting before Impressionism was unnaturally dark because they were painted on a dark background of this . a typical romantic painting . looks pretty realistic cost but if you would take this painting in and go outside . on that with the Impressionists realized it's nice painting but you didn't know Painting can match that did of outdoor color and light . so how can we get ArtPainting to be . the colors we see nature . well they started changing something . first of all of painting before the Impressionist use to start the campus by keeping it all around and then the woodwork the likes of the Impressionists started priming their canvas with a white background rather than the dark colors . he's their predecessors . also eliminated half tones from their palette Rather than mixing colors on their palette they applied pure color to the canvas . so this is an old fashioned Palin . when you have gradations of color . the Impressionists got rid of those meals colors the half tones . instead they would only teach him Ghent to pure color because they discovered that goes half tones tend to muddy the colors in the one break david popping colors . with dead and the pure color . I made began to pioneer was called to get eighteen escaped me The realize that up close . each of these strokes is an individual stroke but actually move back they are going to get going to begin to make in the high on a New Guinea get much more vivid colors and consequence . they also and women needed black from their palette entirely focused blacks here . the Impressionists realize that theories no black in nature . on the and . they also learned from her meter that shadows are not great you don't need grey to paint shadows because shadows actually have color remember when he looked at from your shadow on this beautiful dress . it's not green or brown but it actually blew and that's what makes the teacher seemed so full of light . they also applied new scientific theories about color they look what was actually one of the first artists to really begin exploring modern scientific understanding of how Color function so this is a color wheel killing new primary secondary tertiary colors and also their compliment . and so artists and neon who was to begin to understand how colors interact with one another can use this knowledge Monet uses it for example on Impression Sunrise part of the blog to the light of this picture comes from the fact that the are ancient the sun and the blue of the font are complementary color . . one thing The Impressionists dedicated themselves was to painting only what they can be remembered . this was Corday sic kill me an angel in on PG one The Impressionists take this to the next step was a really literal about that's what we were literal about painting only what we can see money once told that didn't believe goal out to paint try to Forget what objects you have before you a tree house a field whatever . nearly think here is a little square of blue here an oblong of pink here a streak in PLO and keep it justice it looks to you . the color and shape until it gives your own nineteenth impression scene before you . the actually a very difficult thing to do . most people when they tour on four key . using their brain on their using what they know I'm . you might think about of an academic painter like to grow he be looking at the scene and you'll see something out the distance and not know when he gets what would go out looking find out what it is and then come back and she did perfectly . not Lisa actually . when he's actually see and Monet dedicated himself to painting only on what you can see . he . he explained when we look at a landscape or a crowd of people we can not instantly see every face or leaf in TKO focus but it's announced of color and light . Impressionist painters tried to express this experience to take a look at Lebanon da which I was telling you . before looking the way he painted the speak your he knows he's not using his brain saying oh that's a man I have to give him a jacket in my new smile and look like an key to make a treat dimensional . instead he's just looking any say not know what that is but I see a lot to like this black to brown . much of it . even more significant the water . most people when they think of water the sea wall water is blue in the painted on to eliminate putting compete for four on you know the weight Monet has looked at the squandering you realize that it's not blue . it's not any one single color . Amelia of different of different shapes and colors . when we are up close to this picture . it doesn't make any sense to Sublime of different colors in the slightest distorting the colors . but we have yellow ochre and light blue white and what looks like black here is actually a kind of deep forest green . up close it's just The . of see where he's looking at the Water TCC shape and color in each is keen to the shape and color . but then what happens is . here we are up close the painting is that correct . we must back away some distance for the brushstrokes to hokey year and for the picture to come into focus . and you really need to do this again in the Museum into it with me in the Museum on Tuesday . it's amazing what Impressionist pictured left to relieve back away far . and those individual stroke . speaking to me in the Imam grey talked about to be seen in color . some of those Collared speaking to me the yellow and blue was going techniques to create a kind of green on green surface . help the team very scientific about this Palladio's Painting literally only the color and at the collar think he can see colors in sheets . any eighteen eight he began painting in series His Haystack or wheatstack series shows a haystack under changing lighting and atmosphere conditions . so here we have . I was a week back on in winter . on the artist who did Chicago explain to the key to the twenty five wheatstack canvases three the fading of fall into the snows of winter in eighteen ninety one . and so what he's doing spirit literally carrying a moment of color and light . any changes dramatically . according to different conditions . Monet also did a series on the side of growing Cathedral He painted this scene facade at different times of day he would get up in the morning start working on it's nine o'clock canvas and when the sun got to a certain point to the sky It shadows will change so deep that the campus away and take out at ten o'clock canvas work on that for awhile put that away . work on the next one next morning start all over again . on and so he comes up with the whole theory . if we go to this website which is hosted by Columbia University . it shows us . yet here we go . . it's going to show was the candid days . according to where in the sun is kinda guy . here we can still as the sun moved to disguised . Qantas is all all teams making I can get that the Greek late for you . here we go again . silly icon on the right shows the sun moving treatise guy . we can see the different lighting effect . on the facade . . the really interesting happened to art moment here this is the eighteenth of the eighteen nineties when money is doing his theory some the week that Sandro and Cathedral . and this is the moment when part Impressionism which is our next moment in the next movement is taking place . the really interesting happened . from the beginning of the class the subject matter of a work of art has always been important . I've been asking you to describe the subject matter who they are presented . what is happening with the story . with the wheatstack and the pea growing Cathedral . story artist Milan to be involved with storytelling . it's more about the picture . and in Monet's she is moment of instantaneous be seen . we from art . the png about subject matter and believe it or not . the next step is going to be abstraction . we will be there soon . thank you for listening . .