Art critics (namely Louis Leroy, a conservative French critic) who disapproved of the new technique sweeping the world of art originally used the term “impressionist” derogatorily. The word was meant as an insult, a reference to the unfinished quality of the works. Impressionism originated in France as a rebellion against traditionalism in the early 1870s. The French government set forth certain criteria for exhibitions sponsored by the government, and artists felt too limited by these strict guidelines. In 1874, a group of painters organized their own art show, including one of Monet's paintings entitled Impression, Sunrise. After that first exhibition, the popularity of the impressionists only grew, the original negative connotation of the word assigned by the critics gradually changing to positive ones. In 1877, the painters officially adopted the term “impressionists” to describe themselves, solidifying their transformation from outsiders to the heart of the art scene. Impressionism began with a mindset of innovation and an appreciation for beauty, making it no wonder that Americans later became attracted to the inventive style. (1)
Impressionist paintings drew inspiration from nature or immediate surroundings, as opposed to the traditional stories of literature or history. Previously, Greco-roman mythology and biblical scenes held many artists rapt, but as impressionists emerged, a newfound interest emerged. Modern life, in all of its glory, drudgery, and sham became captivating. In this way, painting became less intellectually driven and more intuitively based. Both in technicality and content, paintings were becoming simpler. Painting focused on showing the truth of modern life. Crowds, homes, and people, especially those partaking in leisurely activity, dominated the scenes. In order to capture the vivacity of human life, artists used highly concentrated pigments. The colors were bold, intense, each hue fighting for a grip in the viewer’s eye. Colors were laid next to each other so that the colors were mixed by the inefficiencies of the human eye rather than by the artist himself. Most central to the cause of the impressionists was the goal to capture the fleeting nature of light. In a time where the wave/particle duality of light was becoming known to the public, the impressionists engrained the idea of the photon in their paintings. Light was now quantized packets of energy, each brushstroke showing the broken-ness of light. (2)
In her article on impressionism, Isabel Taube writes, “Central to Impressionism is a sense of naturalism, rooted in a combination of close observation and the painter's subjective view. Due to the importance of the individual artist's perception, it lacks a cohesive style... rather than depicting historical events or literary narratives, the Impressionists painted their personal experience of modern life.”(3) A central theme surrounding the impressionists was one of connection. They painted their own truths, images that the wide public would recognize. They looked for a connection, perhaps in hope of finding others with a similar eye for beauty in the mundane.(4)
Part of what allowed impressionism and plein-air painting (painting outside from life) to take root was the invention of pre-mixed paints. These pre-mixed paints allowed artists to bypass the inevitable tedium of mixing colors, and the colors were more vibrant, as the pigment started coming from chemicals instead of natural dyes. This allowed artists to paint in ways unseen before, where color became a primary focus of the painting rather than a vessel through which to communicate. To add to the convenience of these pre-mixed paints, the paint came in portable tubes, making them even more convenient to bring along.(5)
In her article on impressionism, Isabel Taube writes, “Central to Impressionism is a sense of naturalism, rooted in a combination of close observation and the painter's subjective view. Due to the importance of the individual artist's perception, it lacks a cohesive style... rather than depicting historical events or literary narratives, the Impressionists painted their personal experience of modern life.”(3) A central theme surrounding the impressionists was one of connection. They painted their own truths, images that the wide public would recognize. They looked for a connection, perhaps in hope of finding others with a similar eye for beauty in the mundane.(4)
Part of what allowed impressionism and plein-air painting (painting outside from life) to take root was the invention of pre-mixed paints. These pre-mixed paints allowed artists to bypass the inevitable tedium of mixing colors, and the colors were more vibrant, as the pigment started coming from chemicals instead of natural dyes. This allowed artists to paint in ways unseen before, where color became a primary focus of the painting rather than a vessel through which to communicate. To add to the convenience of these pre-mixed paints, the paint came in portable tubes, making them even more convenient to bring along.(5)
Childe Hassam, Celia Thaxter's Garden, Isles of Shoals, Maine, 1890, oil on canvas, accessed February 23, 2016, http://www.metmuseum.org/collection/the-collection-online/search/14930.
American press was critical of the first Impressionist exhibition in Paris, and as the form grew in Europe, American skepticism of the style continued.(6) Many American critics simply did not understand Impressionism, categorizing any painting with loose or unconventional mark-making as one belonging to the Impressionist movement. When impressionistic paintings were first brought to America, several critics actually believed that they were being tricked; the paintings that they were viewing were not, in fact, painted by the Impressionists of Europe.(7) The first major display of French Impressionism took place in New York in 1886, and received mixed reviews from American critics. Monet’s landscapes were the most well received of all the French artists. Degas and Renoir’s figures were less popular.(8) One viewer of a group exhibition in 1877, J. Alden Weir, wrote to his parents: “I never in my life saw more horrible things.... They do not observe drawing nor form but give you an impression of what they call nature. It was worse than the Chamber of Horrors."(9)
Although America was slow to accept this new art form, eventually American artists began to study their European counterparts’ work. Viewers and patrons of art began to value international art. This movement was especially prominent in Northeastern America, where French art in particular became more fashionable. At the same time, transatlantic transportation was revolutionizing in its technology and ability, thus letting Europe ideas roam across the Atlantic to the Americas. Artists could study abroad and investigate a plethora of styles that were formerly hidden from them.(10)
As the new style swept America, different regions emphasized different tenets from the original Impressionists. These variations stemmed from the patrons and critics from the area. One such group was called Ten American Painters, or the Ten. These painters in a move similar to that which happened in France, became frustrated with the standards of painting set forth by the Society of American Artists, based in New York. They withdrew to create their own group with its own exhibitions in December of 1897. Childe Hassam, who was one of the Ten(11), also brought the Impressionist style to an artists’ colony in Old Lyme, CT. Guy Rose, who studied in Giverny where Monet lived, led the southern California school.(12)
Although America was slow to accept this new art form, eventually American artists began to study their European counterparts’ work. Viewers and patrons of art began to value international art. This movement was especially prominent in Northeastern America, where French art in particular became more fashionable. At the same time, transatlantic transportation was revolutionizing in its technology and ability, thus letting Europe ideas roam across the Atlantic to the Americas. Artists could study abroad and investigate a plethora of styles that were formerly hidden from them.(10)
As the new style swept America, different regions emphasized different tenets from the original Impressionists. These variations stemmed from the patrons and critics from the area. One such group was called Ten American Painters, or the Ten. These painters in a move similar to that which happened in France, became frustrated with the standards of painting set forth by the Society of American Artists, based in New York. They withdrew to create their own group with its own exhibitions in December of 1897. Childe Hassam, who was one of the Ten(11), also brought the Impressionist style to an artists’ colony in Old Lyme, CT. Guy Rose, who studied in Giverny where Monet lived, led the southern California school.(12)
"Divided Light and Color: American Impressionist Landscapes," video file, 12:33, Youtube, posted January 24, 2012, accessed May 25, 2016, https://www.youtube.com/watch?v=bS3K5iPQg9c.
1. Taube, "American Impressionism.," In Grove Art Online. Oxford Art Online. Oxford University Press, accessed February 7, 2016, http://www.oxfordartonline.com/subscriber/article/grove/art/T002327.
2. Taube, "American Impressionism."
3. Taube, "American Impressionism."
4. Taube, "American Impressionism."
5. Rebecca Parks, ed., "American Impressionism," U.S. History in Context, last modified 2013, accessed February 22, 2016, http://ic.galegroup.com/ic/uhic/ReferenceDetailsPage/ReferenceDetailsWindow?failOverType=&query=&prodId=UHIC&windowstate=normal&contentModules=&display-query=&mode=view&displayGroupName=Reference&limiter=&u=va_p_collegiate&currPage=&disableHighlighting=false&displayGroups=&sortBy=&source=&search_within_results=&p=UHIC%3AWHIC&action=e&catId=&activityType=&scanId=&documentId=GALE%7CCX2737200026#fig_1.
6. H. Barbara Weinberg, "American Impressionism," 2004, in Heilbrunn Timeline of Art History (New York, NY: The Metropolitan Museum of Art, 2000), accessed February 7, 2016, http://www.metmuseum.org/toah/hd/aimp/hd_aimp.htm.
7. Taube, "American Impressionism."
8. Taube, "American Impressionism."
9. Weinberg, "American Impressionism," in Heilbrunn Timeline of Art History
10. Taube, "American Impressionism."
11. Erik Brockett, "The Ten American Painters," Antiques and Fine Art Magazine, accessed May 2, 2016, http://www.antiquesandfineart.com/articles/article.cfm?request=844.
12. Taube, "American Impressionism."
Cover Image: Childe Hassam, The Water Garden, 1909, oil on canvas, accessed February 23, 2016, http://www.metmuseum.org/collection/the-collection-online/search/14871.