![]() This book is the catalogue for an exhibition at the National Gallery in London from November 1, 2000, to January 28, 2001, the Van Gogh Museum in Amsterdam from March 2 to May 20, 2001, and the Clark Art Institute from June 17 to September 9, 2001. In a concluding chapter, the author considers a small group of works by Vincent van Gogh, who painted with an almost fanatical rapidity and was the only major Post-Impressionist painter to push the aesthetic of the Impression even further. Brettell discusses the pictorial theories behind the paintings, the sales strategies for them, and the various forms they took, including works completed in one sitting, "apparent" Impressions, and repeated Impressions. ![]() The book surveys the various practices of individual artists in the making, signing, exhibiting, and selling of Impressions. Claude Monets Impression: Sunrise is an exemplary Impressionist painting in several ways, not least of which is its title. Brettell identifies and discusses Impressions by some of the best-known artists of the period, including Manet, Monet, Renoir, Sisley, Morisot, Degas, Pissarro, and Caillebotte. Renowned Impressionist scholar Richard R. This beautifully illustrated book investigates for the first time the works that might truly be called "Impressions"-paintings that appear to be rapid transcriptions of shifting subjects but were nonetheless considered finished by their makers. Yet the paintings they exhibited were in fact almost always completed in the studio later. Impressionist artists worked on-site with speed and directness, hoping to distinguish their works with a new freshness, immediacy, and truthfulness. The "point" of Impressionist art was to capture the fleeting moment, the transient effect of a certain place, person, or time. An apparent desire for an objective painting of light led him away from the personal and psychologically expressive kind of painting associated with the Impression. Monet came to understand that rapid painting did not necessarily mean entrapping nature's fleeting effects. Like his colleague Renoir, Monet mastered this kind of painting early in his career but favored reworking his canvases from the 1880s onward. This energy is present in other paintings by Monet in this exhibition, which feature such diverse subjects as figures on a beach, seascapes, the bridges of Argenteuil, and train stations. Monet completely dissolved the distinction between figure and ground, describing each with paint strokes of equal thickness and directional power. Unlike earlier Impressions, where Monet had segregated color areas in carefully composed patterns, here he covered the surface of the canvas with hundreds of individual touches of paint and scattered color everywhere. Claude Monet was a French painter who initiated, led, and unswervingly advocated for the Impressionist style. He began to paint rapidly executed, gestural paintings by the mid-1860s and took out-of-door, direct painting to new heights in 1868-69 with such works as Bathers at La Grenouillère. No artist is more fully associated with the Impression than Claude Monet (1840-1926).
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