Impressionist painting grew out of artists’ discontent with the strict standards of the French Academy of Fine Arts. These artists wanted the freedom to paint what they see and felt while painting. Claude Monet and Edgar Degas were just two of the many artists who transitioned into impressionism. Although Monet and Degas painting styles were markedly different, they both showed artistic freedom in their work. The impressionist movement in the arts brought fresh ideas, subjects, and techniques into painting.
From themes to brushstrokes and choices of colours, Monet and Degas started their relationship as Impressionist artists on opposite ends of the earth. However, towards the climax of their lives as artists, Monet aided Degas in adopting Impressionist Aesthetic qualities. Monet chose to depict exquisite landscapes from his own gardens and elsewhere, particularly in France. He uses small, elegant brush strokes and vibrant colour to match the scenes he paints. In the mid-1870’s, Monet’s influence over Degas lead Degas to lean his colour choices nearer to those of other Impressionists.
Instead, Cézanne, who began his career as an impressionist, felt that he could communicate the intensity of his personal sensation through his painted observations of nature. He repeatedly turned to traditional artistic subjects, such as landscapes, still lifes, and nude bathers. However, his r... ... middle of paper ... ...m, used more decorative shapes, stencilling, collage, and brighter colors. It was then that artists such as Picasso and Braque started to use pieces of cut-up newspaper in their paintings. An early 20th-century school of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail, stressing abstract form at the expense of other pictorial elements largely by use of intersecting often transparent cubes and cones.
He influenced art by trying to paint his personal spontaneous response to outdoor scenes or events. Earlier artists had also painted outdoor studies rapidly, almost in shorthand. They used such studies as “notes” for more elaborate pictures painted in the studio. Monet was the most important of the artists who first allowed their initial impressions of outdoor scenes to stand as complete works. Monet painted directly from the object in order to record visual sensation more accurately.
Environment and the surroundings can influence both the artists and model and the expressions they paint into the painting. The background of each artist can affect the way they paint and what they choose to paint. I chose to study major artists that influenced significantly the history of art like Rembrandt and Gustave Courbet, and more modern artists that were influenced in later stage like Daniel Barkley and JKB Fletcher. My theme in my A-Level project was the disguise people use to hide their emotions and characteristics. We live in a world where people want to hide their emotions so they won’t be vulnerable to their surrounding environment.
Therefore, Manet believes that art should reflect ideas of the preset not ideas from the past. However, Edward Manet tended to paint and get inspiration from real life. At first sight I did not like the painting; it shocks me too. When I know the stories behind it, I like it and I found it very interesting. It motivates me to search more and know more about the artist, movement, and painting and what going on in that time.
Many people at the time thought nothing could exceed these imitations as portrayals of people. However, it was not long before photography was slated badly by many. Artists regarded photographs as mere regurgitations and made clear that ‘…imagination, rather than imitation is required of art.’ On the contrary it has been said that photography was a new means of pursuing the ends of painting.  This is the view that photography was a continuance of painting which took one step further and opened many doors to new innovative ideas which could be applied to portraiture. Gombrich said of photography: ‘It has drawn attention to the paradox of capturing life in a still, of freezing the play of features in an arrested moment of which we may never be aware in the flux of events.’ Along this train of thought, one can see that photography helped artists achieve something other pictorial media could not.
Impressionists, both in art and poetry, portrayed great images of their subjects by using their styles or techniques. They often captured scenes with vivid color, with great light effects, and with motion (Sporre 525). The impressionist painters tried to view their subjects not as what they really were, but as different areas of color, shapes and light. They commonly used quick, free brush strokes of non-detailed spots of color. This method created a lively appearance (Sporre 527).
Impressionism is the name given to the art movement that changed art forever. Starting in France in the 1860's, Impressionism was considered a radical break from tradition.1 Through the work of artists including Édouard Manet, Claude Monet, Pierre Renoir, Camille Pissarro and Edgar Degas impressionism was born. Impressionists painted outside and focused greatly on light and its reflection. They painted quickly on primed white canvas with short visible brushstrokes and placed separate colours side by side letting the viewer’s eyes mix them. (Techniques uncommon to art at this time) Regarding their subject they again broke with tradition and painted anything they wanted including the modernity of Paris and the everyday life of its citizens.
Caravaggio's uses of symbolism in his work helped him create a name for himself. The ability to read his paintings from so many angles, like in the Sick Bacchus, is what has helped keep Caravaggio and his art alive. His ability to incorporate so many aspects into his work through symbolism and indirtectness, in some cases can be noted a s ingenious. Much of Caravaggio’s is a dissection on the meaning and conditions of knowledge. He can be explained as a "phenomenon which his contemporaries feared, admired, and did not understand (Kitson 9)."