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[continued]

‘Some of the artists remained linked by close personal friendship, notably Monet with Renoir & Pissarro, but in artistic terms they began to go their own way increasingly after 1880[ce].* Though all retained the basic aims that had guided them in the 1870s, they increasingly followed their own preoccupations, and most of them continued to expand and develop their artistic languages until the end of their careers.’

**

*16A~||64j~|U~|1880[ce]

**[ibid (Encyclopaedia of Visual Art 5:789)]

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[continued]

‘Between c[irca]1868 and c[irca]1883[ce]* various members of the group frequently also worked together, particularly in the Seine valley to the northwest of Paris, where they often simultaneously painted the same subjects, notably at Argenteuil, where Monet lived from 1872 to 1878, and at Pointoise, where Pissarro lived from 1872 to 1882[ce]. Sisley, Renoir, & Manet worked on occasion with Monet at Argenteuil; Cézanne, & later Gauguin, with Pissaro at Pontorse. It was as much through those immediate working contacts, as through their joint enterprises in Paris, that their painting acquired a certain coherence of style & purpose during the 1870s[ce].**

***

*Previous 16m~|G~1868[ce]

Current 16m~|G~1884[ce]

**16C1872|A~1880[ce]

***[ibid (Encyclopaedia of Visual Art 5:789)]

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[continued]

‘The group was broken up in 1870[ce]* by the Franco-Prussian war; Monet & Pissarro took refuge in London, and Bazille died at the front. After the suppression of the Paris Commune in 1871[ce],** they came together again in Paris and soon decided to cease exhibiting at the Salon; only Manet continued to submit his work to it regularly, and he never participated in the sequence of group exhibitions. These exhibitions – which took place, under various names, in 1874, 1876, 1877, annually from 1879 to 1882,*** and in 1886 – were the focus of the joint activities of the group, but their artistic aims and their ideas on exhibiting became increasingly divergent. The final show in 1886**** included only Degas, Berthe Morisot, and Pissarro of the original inner circle, alongside younger artists such as as Gauguin, Seurat and Signac.

#

*64g~|M~1872[ce]

**64g~|M~1872[ce]

***16g~|M~1876||A~1880||m~|G~1884[ce]

****16m~G~1884||s~R~1886[ce]

#[ibid (Encyclopaedia of Visual Art 5:789)]

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[continued]

‘In 1863[ce], a rallying point was provided for them by the Salon des Refusés (an officially* sponsored exhibition of the paintings rejected from the official Salon in that year), and in particular by Monet's major work shown there, Le Dejeuner sur l'Herbe (Musée de Jeu de Paume,

Paus). By the late 1860s[ce], Manet & Degas were in close touch with the other painters; the Café

Guerbois became the meeting place of the group, where they aired their opinions on art. Until 1870[ce] they all continued to submit their work to the Salon, but, after some initial

success, they were generally refused by the jury; a project of Monet & Bazille for an independent

exhibition in 1867[ce] came to nothing, but was the germ of the exhibition of 1874[ce].**

***

*(NB) 

64C1856|r~S~1864[ce] – start of Crisis Resolution phase

**[See last 3 previous ts journal entries, [Redbook10:101][19910516:0930jq]{Modern Art [continued (123)]}{Impressionism [continued]}[Extracts from source text with ms notes][12th May 1991]ff]

***[ibid (Encyclopaedia of Visual Art 5:789)]

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[continued]

‘The participants in the first group exhibition of 1874[ce] included:

Claude Monet (1840-1926)
Camille Pissarro (1830-1903)
Pierre Auguste Renoir (1841-1919)
Alfred Sisley (1839-99)
Edgar Degas (1834-1917)
Paul Cézanne (1839-1906)
Berthe Morisot (1841-95)
*
These seven artists, along with Édouard Manet (1832-83), are generally regarded as the principal Impressionist painters. Though in their methods and techniques, Degas and Manet belong less closely to the group. The links between the artists were forged in the 1860s [ce];** Monet, Renoir, Sisley & Frédéric Bazille (1841-70[ce]) met in metin 1862[ce] in the studio of the academic artist Charles Gleyre (1808-74[ce]); Monet had met Pissarro c[irca]1860[ce], and & Cézanne first met this group c[irca] 1863[ce].

***

*[All dates CE]

(My columnisation [& formatting])

Note that all the Impressionists were born within 10 years of 64G~1840[ce]; Monet, Renoir, Cezanne (& Sisley) were born 1839-1841[ce], as was Bazille, & in 1874[ce] would therefore have been in their mid-thirties.

**64r~|S~ |(Previous)16A~1864[ce]

***[ibid (Encyclopaedia of Visual Art 5:788-789)]

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[continued]

‘It is impossible to find a single definition to cover the range of painters often described as “Impressionist” but the quintessential Impressionist landscape (for example, Monet's “Sailing at Argenteuil”, 1874[ce]; private collection) has certain recognizable characteristics: it is comparatively small in scale and informal in composition, and was normally largely executed out of doors; its colors are generally bright & contrasting, its brushwork free & intuitive.* It is from discussion of these factors, and from a consideration of Impressionism in its historical context, and against its intellectual and social background, that we can define the true nature & extent of the movement.

**

*r~

**[ibid (Encyclopaedia of Visual Art 5:788)]

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*‘In 1874[ce], a group of artists mounted an independently organized exhibition of paintings in Paris, in a deliberate attempt to find another outlet for their work besides the official Salon. One of the participants, Claude Monet, showed a picture with the title “Impression: Sunrise” (Musée Marmottan, Paris); several reviews of the exhibition picked on this title as reflecting the dominant characteristic of the works exhibited, and one critic, Louis Leroy, entitled his review “The Exhibition of the Impressionists.” Though none of the artists wholeheartedly accepted the label – it was used to describe paintings of many varied types – the title stuck to the group, and what originated as a critical quip has become the name of one of the most significant art movements of the later 19th century [ce].’

**

*16C|64g~M~|1872[ce]

**[Encyclopaedia of Visual Art 5:788]

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[continued]

This is probably the most important period or style of art which I have studied or will study during this short course in the History of Art.* It is also one which I do not believe I could have made any sense of without the previous course of study.*

*[For which only selected extracts from the copied source materials are reproduced in the ts]

See Illus[tration] E[ncyclopaedia of] V[isual A[rt] 5:787, ‘Impression: Sunrise’, by Claude Monet.

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**

(Impressionism)

My intention is not to reproduce any of the Impressionist paintings by photocopying here, mainly because colour is too important; but it is becoming apparent that even the colour reproductions in the E[ncyclopaedia of] V[isual A[rt] (which I could have cut out of my damaged set,*** only I can't bear to – and it would deprive [d] and [s] of more of the set) are unlikely to do justice to the originals – far more so than is the case with most painting.****

*[ms page 100 left blank]

**(See illus[tration]s in E[ncyclopaedia of] V[isual A[rt] & E[ncyclopaedia] B[ritannica])

***[As space was tight, the set had been left under or near to a radiator which leaked on it. Insurers paid out for a new set.]

****(Note upright [hand]writing….)

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#[Uncorrected date discrepancy:

From ms/ts p35 to p89 the ms date was accidentally left unchanged in the ts until after the blog had been posted. The ts date was subsequently corrected but the error remains in the blog. The header date-time reference has been left unchanged in both, partly to avoid cross-referencing problems.

The correct text dates for the blog should therefore be read as:

pp35-68 (1^st entry): 19910513:0916;

pp68-89 (1^st entry): 19910514:0902;

pp89-100: 19910515:0950.]

{Modern Art [continued (120a)]}[Extracts from source text with ms notes][12th May 1991]

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*

*ibid [Encyclopaedia of Visual Art 5:] 786

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#[Uncorrected date discrepancy:

From ms/ts p35 to p89 the ms date was accidentally left unchanged in the ts until after the blog had been posted. The ts date was subsequently corrected but the error remains in the blog. The header date-time reference has been left unchanged in both, partly to avoid cross-referencing problems.

The correct text dates for the blog should therefore be read as:

pp35-68 (1^st entry): 19910513:0916;

pp68-89 (1^st entry): 19910514:0902;

pp89-100: 19910515:0950.]

{Modern Art [continued (120)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

*

**

***

*[‘this’ – see last previous ts journal entry (&ant)]

**[ms footnote continues source text:]

‘was associated with the Neo-Impressionists….’

***ibid [Encyclopaedia of Visual Art 5:] 776-778

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