Chapter 13.1 Impressionism Late 1800s, France The use of bright, fragmented, pure color and a preoccupation with the effects of light were among the hallmarks

Chapter 13.1Impressionism • Late 1800s, France

The use of bright, fragmented, pure color and a preoccupation with the effects of light were

among the hallmarks of Impressionist painting.

High-keyed colors made from synthetic materials, readily available in tubes, made it easy for artists to paint out of doors to study

and capture the fleeting effects of light. The popularity of Japanese wood block prints

brought the influence of asymmetrical compositions which used rhythmic, flattened,

brightly colored forms.

Edouard Manet (1832-1883) FrenchStation Saint-Lazare, 1873, oil on canvas, 37x45”

Manet was the unofficial leader of the Impressionist movement. He was trained as a traditional painter and was influenced by the painterly brushwork of Spanish painters Goya and Velazquez, as well as by Japanese

woodcuts.

Edouard Manet (1832-1883) FrenchThe Bar at the Folies-Bergere, 1881, oil on canvas

In the center is the figure of a barmaid caught off guard, as if speaking to a customer, seen reflected in the mirror behind. Figures in the background are

defined with quick, suggestive brushstrokes.

Edouard Manet (1832-1883) French

Claude Monet (1840-1926) FrenchImpression: Sunrise, 1872, oil on canvas

Claude Monet, Rouen

Cathedral, 1894oil on

canvas42 x 28”

Claude Monet, Rouen


canvas42 x 28”

Claude Monet, Rouen


canvas42 x 28”

Claude Monet, Rouen


canvas42 x 28”

Claude Monet (1840-1926) French












Pierre Auguste Renoir (1841-1919) French

Pierre Auguste Renoir (1841-1919) French

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Chapter 13.1 Impressionism Late 1800s, France The use of bright, fragmented, pure color and a preoccupation with the effects of light were among the hallmarks