Impressionism, French Impressionnisme, a major movement, first in painting and later in music, that developed chiefly in France during the late 19th and early 20th centuries. Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. The most conspicuous characteristic of Impressionism was an attempt to accurately and objectively record visual reality in terms of transient effects of light and colour. The principal Impressionist painters were Claude Monet, Pierre Auguste Renoir, Camille Pissarro, Alfred Sisley, Berthe Morisot, Armand Guillaumin, and Frédéric Bazille, who worked together, influenced each other, and exhibited together independently. Edgar Degas and Paul Cézanne also painted in an Impressionist style for a time in the early 1870s. The established painter Édouard Manet, whose work in the 1860s greatly influenced Monet and others of the group, himself adopted the Impressionist approach about 1873.
Tout l'impressionnisme est né de la contemplation et de l'imitation des impressions claires du Japon.
-- Ed. et J. de Goncourt, Journal, 19 avr. 1884.
En réalité l'Impressionnisme est multiple: le terme si critiqué est surtout mauvais parce qu'on l'emploie tantôt dans un sens large, tantôt dans un sens étroit. Il y a l'impressionnisme de Manet qui peint clair. Il y a celui de Manet encore et de Degas qui spécule sur l'emploi d'une nouvelle perspective. Il y a celui de Pissarro et de Renoir qui se fondent sur le plein air et l'emploi des tons purs. Il y a enfin celui de Monet qui unit une conception lyrique de la vision avec une analyse quasi scientifique des sensations colorées et qui substitue au dessin classique la notation des ombres et des reflets. Toutes ces tendances ont un caractère commun: elles se fondent sur une tentative pour substituer aux conventions de l'école l'analyse des données pures des sens. Et c'est par là qu'elles méritent finalement toutes, en commun, le nom d'Impressionnisme.The word ``impressionniste'' was printed for the first time in the Charivari on the 25 April 1874 by Louis Leroy, after Claude Monet's landscape entitled Impressions: soleil levant [Impressions]. This word was used to call Exposition des Impressionnistes an exhibit hold in the salons of the photographer Nadar and organized by the ``Société anonyme des peintres, sculpteurs et graveurs'' [``Anonymous society of painters, sculptors and engravers''], composed of Pissarro, Monet, Sisley, Degas, Renoir, Cézanne, Guillaumin and Berthe Morisot.
-- P. Francastel, Nouveau dessin, nouvelle peinture, III.
Eugène Boudin, Stanislas Lépine and the Dutch Jongkind were among the forerunners of the movement. In 1858, Eugène Boudin met in Honfleur Claude Monet, aged about 15 years. He brought him to the seashore, gave him colors and learned him how to observe the changing lights on the Seine estuary. In those years, Boudin is still the minor painter of the Pardon de Sainte-Anne-la-Palud, but is on the process of getting installed on the Normandy coast to paint the beaches of Trouville and Le Havre. On the Côte de Grâce, in the Saint-Siméon farm, he attracts many painters including Courbet, Bazille, Monet, Sisley. The last three will meet in Paris in the free Gleyre studio, and in 1863 they will discover a porcelain painter, Auguste Renoir.
At the same time, other artists wanted to bypass the limitations attached to the Ecole des Beaux-Arts and were working quai des Orfèvres in the Swiss Academy; the eldest, from the Danish West Indies, was Camille Pissarro; the other two were Paul Cézanne and Armand Guillaumin.
The 1866 Salon accepted the works of some of them: Degas, Bazille, Berthe Morisot, Sisley; Monet exposed the portrait of Camille, Pissarro, les Bords de la Marne en hiver; Manet, Cézanne, Renoir were refused, and Emile Zola wrote in l'Evenement a diatribe which made him the official upholder of those newcomers bearing an more revolutionary attitude in the conception than in the still traditional painting. The main distinction lies in the attraction for color and the liking of light; but Berthe Morisot remained faithful to Manet's teaching; Degas was mixed between his admiration of Ingres and the Italian Renaissance painters; Cézanne attempted to ``faire du Poussin sur nature''; Claude Monet himself, in la Terrasse au Havre and les Femmes au jardin (1866, Louvre, salles du Jeu de Paume), is far from announcing his future audacity.
Back in Paris, most of these painters went to work in Argenteuil (Monet, Renoir), Chatou (Renoir), Marly (Sisley), or on the banks of the river Oise (Pissarro, Guillaumin, Cézanne). Edouard Manet painted the Seine with Claude Monet and, under his influence, adopted the open air work.
Only Monet and Sisley went always deeper into the analysis of light changings and their effects on appearances. Degas, Renoir and Cézanne headed towards opposite directions, whereas Pissarro was interested by the researches of Paul Gauguin, Georges Seurat, Paul Signac. If, at this stage, Impressionists were becoming appreciated, their situation was still harsh; the Salon was still refusing their paintings, and in 1894, 25 out of 65 artworks donated by Caillebotte to the Luxembourg museum were rejected.
Yet, when Camille Pissarro, the Impressionist patriarch, died in 1903, everybody agreed that this movement was the main XIXth century artistic revolution, and that all its members were among the finest painters. The influence of the Impressionists was great out of France, especially in Germany, with Liebermann, Corinth, and in Belgium.
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