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Art Artist Paintings of famous Impressionist art: Monet, Renoir, Van
Gogh. Romantic artist Turner and silhouette history, |
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Key Dates: Camille Pissarro |
1830 |
Born 10th July on the West Indian Inland of St Thomas |
1842-7 |
Schooling at Passey, France |
1847-52 |
Visit Venezuela with Fritz Melbye |
1856-8 |
Studies painting in Paris |
1859 |
First landscape painting excepted by Paris Saloon |
1860-5 |
Paints around Paris countryside |
1861 |
Meets Cézanne and Monet we he joins the Academie Suisse |
1863 |
Rejected by Saloon, so enters Saloon des Refuses. Birth of son Lucien |
1866 |
Settles with family in Pontoise |
1869 |
Moves to Louveciennes |
1872 |
Moves back to Pontoise, goes out painting with Cézanne |
1874 |
First Impressionist Exhibition |
1878 |
Opens studio at Rue des Trois- Freres, Paris |
1884 |
Moves to Osny than settles in Eragy, The artist studio was built in the orchard and still there |
1885 |
Meets the artist Signac and Seurat |
1885-91 |
painting style changing to Neo-Impressionist exhibits in Paris and Brussels |
1894 |
Outbreak of anarchist war in Paris, flees to Knokke-sur Mer, Belgium. 1897 paints Boulevard Montmartre |
1903 |
13th November dies in Paris |
| impressionist index Impressionist Portraits |
The Impressionist
| The French Revolution of 1789 brought world-wide class upheaval, but it took place in France first. This pre-eminence in social progression meant that societal arts were to develop with greater speed and diversity there then in other European countries. While England's staggering production levels in newly established factories were sufficient for it to be labeled the "production capital of the world," the birth and nurturing of the Impressionist movement required the cultural climate of France. It is interesting to note how preceding artistic styles encouraged and made way for one another and how these, in turn lead to Impressionism. While the movements cannot be confined to an exact chronological timetable, they do give some clues as to the artistic background in which Impressionism was born. For example, Classicism was very influential. This movement was widely found throughout Europe in the post-renaissance period and is largely considered one of the most influential precursors to Impressionism. Since the eighteenth century, English artists had demonstrated an enthusiasm towards painting the landscape. Distinctive atmospheres that were afforded by the constantly changing nature of the landscape made way for a more impressionistic approach to the canvas. J.M.W.Turner's Rain, Steam & Speed - The Great Western Railway of 1844 gives one a good idea of how this English genre obviously affected subsequent French artists. Possibly the most obvious precedent to Impressionism was the art of the Realists. Their fundamental objectives, "to open a window on the world," and "to paint a message" were similar, in many ways to the ideals held by the Impressionists. In 1855, a World Fair was held in Paris, a sequel to the original which had taken place in London four years previously. A distinguishing element to this second fair was its attention to art. This served, in some large part, to highlight Paris as the centre of the art world. If new innovative ideas were to be expressed, this was the place for painters to come. Among those attracted by the World Fair in Paris were the group of young painters, soon to be labeled, the Impressionists. The Académie Suisse, founded and run by the painter Charles Suisse, provided a cheap and productive venue in which aspiring painters could exchange new and progressive ideas. It was here that Pissarro , Monet, Guillaumin and Cézanne first came to know each other. Despite the obvious advantages of free models which were provided, the Académie Suisse was appealing for a number of reasons. The most important of which was that it provided a place to air new and controversial attitudes in painting. Those that would otherwise never have been exposed in an art world community which was committed to a traditional style and open only to the most limited of adaptations. This community was represented and controlled by three bodies; the Salon, the Académie and the École des Beaux Arts. Typically, all of these institutions were structured within a very defined set of parameters. Only certain candidates qualified for positions in particular offices, etc. The art world of Paris at the time is fairly described as being an incestuous society in which similarly educated officials came together and regulated what would otherwise have been a far more diverse collection of "accepted" art. The Salon had become an annual exhibition at which members of the Académie, often professors at the École, judged entries. It was the restrictive nature of these judges that prompted Monet et. al. to exhibit their works separately in the studio of the photographer, Nadar. This exhibition, held in 1874, included Monet's famous Impression: Sunrise which is generally thought to have prompted the naming of the whole genre. Subsequent exhibitions were to prove less impressive, but the work had been done and the group's paintings were subsequently to be considered those of the Impressionists. |