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[1] Impressionism is the name given to a style of painting in France at the end of the 19th century. The Impressionist artists were not a formal group but more a collective of artists seeking recognition for their innovative techniques and approach to using color in art. Many artists contributed to the first exhibition of Impressionist painting in 1874. Claude Monet (1840-1926), Pierre Auguste Renoir (1841-1919), Camille Pissarro (1831-1903), Edgar Degas (1834-1917), Alfred Sisley (1839-99) and Henri Marie Raymond de Toulouse-Lautrec (1864-1901) were the main figures who formed the core of Impressionism.

[2] Impressionism explored contemporary developments in color theory which led to a more exact analysis of the effects of color and light in nature. The Impressionists abandoned the conventional idea that the shadow of an object was made up from its color with some brown or black added. Instead, they enriched their colors with the idea that the shadow of an object is broken up with dashes of its complementary color. For example, in an Impressionist painting the shadow on an orange may have some strokes of blue painted into it to increase its vitality.

[3] Impressionism sought to capture the atmosphere of a particular time of day or the effects of different weather conditions on the landscape. In order to capture such fleeting effects Impressionist artists had to work quickly. They applied their paint in brightly colored strokes which meant sacrificing much of the outline and detail of their subject. Their painting technique put them at odds with the conservative Académie of the French artistic establishment who valued subtle color and precise detail which was carefully crafted with great skill in the artist's studio. What the Académie failed to appreciate was the freshness of Impressionist color and the energy of their brushwork which revealed a spontaneity that had only previously been valued in the sketches of the old masters. However, the public grew to love the vitality of the impressionist technique and in time Impressionism grew to become the most popular movement in the history of art.

[4] The bold designs of Japanese paintings, popular in France at the time, were another influence on impressionism. Their asymmetrical arrangements, contrasting large areas of flat color with patches of intricate pattern, offered a compositional format that the Impressionists could use to develop their ideas about color. Sometimes, even the most avant-garde artists need the security of knowing that the path they have chosen to follow has some roots in tradition. The compositions of the Ukiyo-e masters such as Hokusai and Hiroshige offered the Impressionists this confidence, albeit from another culture.

[5] Impressionism was the first movement where artists embraced painting ‘en plein air’ (painting outside). This was partially due to the introduction of paint in tubes which, for the first time, enabled artists to carry all their studio equipment around in a case. They also found it necessary to paint

outdoors because they were committed to observing the effects of light on color in nature. Consequently landscapes, both in the town and countryside, became their most natural and influential subject and is what we immediately associate with Impressionism today.

[6] Still life was not a popular subject matter in Impressionism, mainly because it was not a ‘plein air’ subject suited to capturing the atmospheric qualities of light and color. However there are a few outstanding examples such as Renoir's 'Fruit of the Midi' whose fruit and vegetables are carefully

chosen to create a range of prismatic colors that span the ‘Impressionist’ spectrum.

[7] Impressionism was the first movement in the canon of modern art and had a massive effect on the development of art in the 20th century. Like most revolutionary styles ‘Impressionism’ was gradually absorbed into the mainstream and its limitations became frustrating to the succeeding

generation. Artists such as Vincent Van Gogh, Paul Cézanne, Paul Gauguin and Georges Seurat, although steeped in the traditions of Impressionism, pushed the boundaries of the style in different creative directions and in doing so laid the foundations of art in the 20th century.

For historical convenience these artists have been labeled as ‘Post-Impressionists’ but, apart from their ‘Impressionist’ influence, they do not have much in common. Van Gogh pushed art towards ‘Expressionism’, Cézanne towards ‘Cubism' and Gauguin and Seurat towards ‘Fauvism’ and ‘Divisionism’.

Write T for true, F for false and NG when the answer is not given:

The Impressionist artists were a formal group in the 19th century in France.

The Impressionists rejected the traditional idea of how to paint a shadow.

The Impressionists were always preoccupied to show the landscape at different times of the day and seasons due to the different weather conditions.

Interest in Japanese art might have meant the need for the background found in traditional art.

Impressionists painted both urban and rural landscapes.

Still life is not found among Impressionist artists.

Impressionism ultimately is seen as both innovating and restricted.

Complete the summary by filling in ONE word from the text:

A new approach to the concept of color and use of new techniques made up a of Impressionism. Impressionist artists the existent color scheme with new ideas. The factors that kept Impressionist at odds with Academie of the French was the Academie's focus on color and and Impressionists' expression of energy and . Japanese art offered the concept of specific arrangement, color and that Impressionist later developed even further. The items that allowed painting outdoors were . The ideas of Impressionism were soon into the prevailing styles and gave the foundation to the 20th century art.

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