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Impressionism is defined as the style of painting characterized by concentration on the immediate visual impression produced by a scene. Impressionistic paintings use unmixed primary colors and small strokes in order to stimulate actual reflected light. This method of painting varied greatly from the previous works of art categorized under "realism. " Comparatively, realism emphasized the portrayal of modern life as it actually was, without idealization or presentation in the abstract form. The transition from realism to impressionism occurred gradually and can in no way be contained in a definite period of time.
Yet, for the most part, it is believed to have originated in the nineteenth century; continuing on throughout the twentieth century. When examining and comparing the first "radical" works of impressionists, it is evident that it arose in response to the changing intellectual, social, economic, and cultural character of modern life. The modern era only came about recently. The principal difference between modern times and the era previous to it, is the basic thought system around which society revolved. In ancient times, ideas such as truth seeking in reason and economics did not exist. The commencement of this great shift of ideas influenced many aspects of society.
New ways of life gave way to new ideas in a chain reaction of modernization. One of the greatest components of culture, that was highly influenced by the dynamic society of modern life, was art. From the time between man's early cave paintings to the computer graphics of today, art has displayed immense changes. Specifically highlighting impressionistic art of the nineteenth and twentieth centuries, we can find many aspects of this method that originated in correspondence to the modernization of society. During the nineteenth century, the world was taking its first steps into the Industrial Revolution.
This period of time was distinguished by the extensive mechanization of production systems resulting in a shift from home-based hand manufacturing to large-scale factory production. Due to this rapidly changing economy, a fantastic growth of cities commenced. Most of the great historical cities in Europe, were essentially rebuilt and reconfigured. During this time, France also led the world in a shift from high to low birth-rates that social historians have defined as a prime characteristic of modernity. 1 The pre-industrial world in which the vast majority of workers were agricultural laborers who lived in the country or in small villages, gave way to the world of urban, and eventually suburban, workers. These workers congregated to secure employment and formed an immense new class, whom Karl Marx called the proletariat. 2 Another shift came with the enormous rise in the nineteenth century of the previously small class of urban shopkeepers, professionals, small-business owners, and other non-aristocratic property owners called the bourgeoisie. By the twentieth century, the bourgeoisie became the dominant class, both socially and economically throughout Europe and much of the United States.
This new class flocked to the newly expanding cities to become part of the industrial world. Paris was one of these cities in which the new classes of people came to live. The main focus of Parisian life then, dealt with the arts. To this day it is known as the artistic capital of the Europe and America.
Its museums, galleries, art academies, art schools, art shops, and art studios were unparalleled anywhere in the world. For this, artists from every nation flocked there to develop their work. "The sheer instability of the social, economic, and physical reality of the nineteenth century Paris had a profound effect on artists representations of it. " 3 The first pieces of art in Paris were established by the standards of the French Academie des Beaux-Arts. The Academie was first instituted when an increasing appreciation of art demanded a formal place to reveal works of art to the people. The Academie would hold an annual salon in the Louvre. It became part of a 200 year old tradition in which over 400 works were exhibited for public eye. In order to display one's work, it had to follow certain guidelines of the Academie.
First of all, all paintings shown at the salon had to be realistic. They only accepted paintings that were created on smooth surface canvas, using precise details. Light and shade had to be used to model objects and the human figure was only accepted when flawless. This polished look was the main form of art at the time; also known as realism. Specific themes were also appointed by the Academie. They rated a painting's value upon the following: the best were of a historical theme, preferably of the Greeks and Romans, classical myths, or biblical scenes.
The next best theme was a portrait, followed by genre, next still lifes, and finally any form of landscape paintings. If a painting did not follow these guidelines, then it was rejected from the salon by the placement of a large red "R" on the back of the canvas. It was the frustration of those rejected from the salon that brought the group of impressionists together. Impressionists of the time were serious artist who wanted to paint the people and places around them in new ways.
When the salon viewed their works, they believed them to appear messy and unfinished. Impressionists were considered "lunatics. " Pregnant women were even warned from looking at impressionistic paintings because they might be bad for their health. 4 The impressionists first officially united in 1874. They formed a secret society that they called the Anonymous Society of Artists. The first leading members of this society were Monet, Pissarro, Renoir, Sisley, Degas, Morisot, Caillebotte, Logic, Cezanne, Gauguin, and Seurat. All of these artists would later become extremely famous and influential in the field of impressionism. The society first gathered at cafes in Paris to discuss their work and spectate passer- bys for inspiration.
Small art studios known as ateliers, were where artists studied Impressionism. A teacher would come by twice a week to instruct the apprentices on the basic nature and numerous methods involved in Impressionism. With time they began holding small exhibitions in wherever space was available. Eventually, the public began to recognize the potential of impressionism and in 1874, a patron named T. F. Near, sponsored an official exhibition in his studio.
From the point of this first exhibition on, impressionistic paintings gradually became the accepted form of art. 5 Another large factor in the advent of impressionistic ideas, was the wars throughout Europe at the time. It was through battle and chauvinism of past decades that a purer love of the country grew. This love was one of the earliest expressions of what is now regarded as commonplace; the interest and joy in ordinary things and people, in short, in the stuff of which the country was made. Men abandoned the attitude which had led to the decline of France, the looking back to past glories and the imagining of future ones.
They concentrated on the present. In doing so they found the present to be very pleasant and offered man and artist alike all that he needed for a full enjoyable life. The present involved the Industrial Revolution, and with this the idea of capital became increasingly important. At no time in previous human history did economic forces have a larger range than those of religion and government in the shaping of civilization.
Capital was the story of modernism, and government survived only as far as it could mold itself to the interests of capital. This system was most brilliantly analyzed by Karl Marx and his followers, who not only became obsessed with their study of capital and its ownership or control, but also with the socio-economic classes of people defined in terms of their access to capital. The simplicity of Marxist analysis, with its rigid cate...
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Research essay sample on Works Of Art Form Of Art
