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    Impressionism 120 illustrations
    Impressionism 120 illustrations
    Impressionism 120 illustrations
    Ebook156 pages1 hour

    Impressionism 120 illustrations

    By Nathalia Brodskaya

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    About this ebook

    Impressionism has always been one of the public’s favourite styles of art and Impressionist works continue to enchant beholders with their amazing play of colours and forms. This book offers a well-chosen selection of the most impressive works of artists such as Degas, Monet, Pissarro, Renoir and Sisley. Mega Square Impressionism pays tribute to the subject’s popularity.
    LanguageEnglish
    PublisherParkstone International
    Release dateDec 5, 2022
    ISBN9781781609644
    Impressionism 120 illustrations

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      Book preview

      Impressionism 120 illustrations - Nathalia Brodskaya

      Bunch of Peonies

      Edouard Manet, 1864. Oil on canvas, 93 x 70 cm. Musée d’Orsay, Paris

      The Impressionists and the classical school of Art

      As said before, the group of young artists – the future Impressionists –, was formed in the early 1860s. Claude Monet, the son of a store owner from Le Havre, Frédéric Bazille, the son of wealthy parents from Montpellier, Alfred Sisley, a young Englishman born in France, and Auguste Renoir, the son of a Parisian tailor, all came to study painting in the free studio of professor Charles Gleyre in 1862.

      For them, Gleyre was the embodiment of the classical school of art. At the time he met the future Impressionists, Charles Gleyre was sixty years old. Born in Switzerland, on the shore of Lake Lean, he had lived in France since his childhood. Having graduated from the School of Fine Arts, Gleyre spent six years in Italy.

      His success in the Paris Salon made him famous. Gleyre taught in the studio organized by the famous salon artist Hippolyte Delaroche. The professor painted huge pieces based on themes from the Holy Scriptures and ancient mythology built with classical clarity. The modeling of his feminine nudes could only be compared to works of the great Jean-Auguste-Dominique Ingres.

      Auguste Renoir, in his conversations with his son, the great movie director Jean Renoir, said that the best part of his education took place in the studio. He described his professor as a powerful Swiss, bearded and short-sighted (Jean Renoir, Pierre-Auguste Renoir, my father, Paris, Gallimard, 1981, p.114).

      According to Renoir, the studio that was located in the Latin Quarter on the left bank of the Seine was a big bare room, filled with young people leaning on their easels. To the north, a bay window enabled grey light to pour in over the objects under observation (op. cit. and loc. cit.). The students were all very different.

      Young men from rich families who played artists came to the studio in black velvet jackets and berets. Claude Monet called this bourgeois group of students – ‘the spices’. A white painter’s blouse worn by Renoir fuelled their mockery, but Renoir, just like his new friends, ignored

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