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‘Divergent trends began to appear in the work of the major figures, while disputes about whether to continue with the independent exhibition further divided them. Cézanne, who did not exhibit with the Impressionists again, was perhaps the first to realize the critical stage that had been reached.

For the first time, a style had been based on an undisguised characteristic of technique, rather than on the form or formulation of a subject. A style that confesses so openly that painting is nothing but paint raises the old question of how far the qualities of art are intrinsic[,] in a particularly acute form. The qualities of Impressionism in the 1870s[ce] were inseparable from the heightened visual experience of a sensuously satisfying world.

*

* – [ibid (Encyclopaedia Britannica 25:368)]

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‘Although the first exhibition attracted much public ridicule, the experiment of an independent exhibition was repeated in 1876[ce],* with fewer participants. Monet now began to make studies of the Gare Saint-Lazare. Renoir used effects of dappled light and shadow to explore genre subjects (see Plate 23)** such as "Moulin de Galette" (1876[ce]; Louvre, Paris).

In 1877[ce]*** only 18 artists exhibited.

****

*32u~|J~1876[ce]

**[Not reproduced in ms]

***{(}64j~|U~1880[ce]{)}

{(}32u~|J~1876[ce]{)}

{16A~1880[ce]}

**** – [ibid (Encyclopaedia Britannica 25:368)]

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[continued]

‘Back in the environs of Paris after the Franco-Prussian War, the painters developed the fully formed landscape style that remains the most generally popular achievement of modern art. The exhibition, held in the studio of the photographer Nadar (Gaspard Félix Tournachon) in 1874[ce],* included Monet's picture “Impression: Sunrise” (Musée Marmottan, Paris), which drew the criticism that gained the group the name Impressionists (see Plate 23).**

The show revealed three main trends.

The Parisian circle around Monet and Renoir, who had been painting in close association in the city and its suburbs, had developed furthest the evanescent*** & sketch-like style.

The vision of these working near to Pissarro in Pontoise & Auvers was in general less transitory & more firmly rooted in the country scene.

A relatively urbane, genre-like**** trend was represented by Degas' picture of Paul Valpinçon & his family at the races called "Carriage at the Races" (1870-73[ce]; Museum of Fine Arts, Boston) and Berthee Morisot’s “Le Berceau" (“The Cradle”; 1873; Louvre, Paris).

Manet himself was absent, hoping for academic success; his "Gare Saint-Lazare" (1873[ce]; National Gallery of Art, Washington, D.C.) influenced by the impressionist palette, was accepted at the Salon.

Modelling himself on Pissarro, Cézanne had sublimated the turbulent emotions of his earlier work in pictures that were studied directly and closely from nature; he followed the method for the rest of his life.

#

*64g~|M~||32A~||1872[ce]

**[Not reproduced in ms]

***(of impression, appearance &c quickly fading (– C[oncise] O[xford] D[ictionary]))

****genre 1. style, type

2. painting of scenes of daily life, popularised by 17th-century [ce] Dutch painters

(E[ncyclopaedia of ]V[isual] A[rt] 9:753)

# – [ibid (Encyclopaedia Britannica 25:368)]

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[continued]

‘Impressionism. The first steps towards the systematic impressionist style were taken in France in Monet's coast scenes from 1866[ce]* onwards, notably "The Terrace" (1866[ce]; Metropolitan Museum of Art, New York), in which he chose a subject that allowed a full palette of primary colour.

The decisive development took place in 1869[ce],** when Monet & Renoir painted together at the riverside resort of La Grenouillère. On the evidence of the resulting pictures, it would appear that Monet contributed the style, the pattern of brush strokes, the light tonality, and the brilliance of colour; Renoir's versions show, by contrast, the overall iridescence,*** as well as the urbane social comment, that were his alone.

Working at Louveciennes from 1869[ce],**** Pisarro evolved the drier & more flexible handling of crumbly paint that was also to be a common feature of Impressionist painting.

#

*64r~|S~||32g~|M~||1864[ce]

**64g~|M~||32A~||1872[ce]

***( – showing colours like those of a rainbow; changing colour with position – C[oncise] O[xford] D[ictionary])

****64g~|M~||32A~||1872[ce]

#– [ibid (Encyclopaedia Britannica 25:368)]

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‘The starting point of Paul Cézanne was, by contrast, vigorous to the point of violence. In 1866[ce] he evolved a palette-knife style, combining handling derived from Courbet with the gray tonality of Manet; its rough-hewn crudity had a consistency that was in essence new. His alternative style in the 1860s[ce], with curling brushstrokes related to Daumier, was equally virile and it was often applied to subjects of erotic violence.

The unbridled force of Cézanne's early work gave the first sign of qualities that were to become characteristic of modern art. Though exceptional, it was not unparalleled; in Italy during the 1860s[ce], the Russian painter of historical & scriptural themes, Nikolay Nikolayevich Ge, produced sketches with loose expressive brushwork that has sometimes a resemblance to Cezanne's.’

*

* – [ibid (Encyclopaedia Britannica 25:368)]

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‘In France in the mid-1860s[ce]* Monet produced a series of large-scale open-air conversation pieces in which elements derived from Courbet & Manet were fused with a quite original expression of ** dappled light in solid paint.

The approach of Camille Pissarro, who had arrived in Paris from the West Indies in 1855, was more deliberate; influenced by Corot as well as Courbet, he recorded pure landscape motives in a limited range of tones with a natural lyricism of feeling.

***

*64r~|S~1864[ce]

**

	C
/↓/		\↓\

*** – [ibid (Encyclopaedia Britannica 25:368)]

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‘Other qualities that Baudelaire in 1846[ce] had specified as the qualities of modern art — the spirituality * and the aspiration towards the infinite – evolved quite apart from Impressionism.’

**

* (eg Bresdin, Moreau)

{

	C
	/	/
R~	/
	r~

}

** – ibid [(Encyclopaedia Britannica 25:367-368)]

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‘Though the figurative aims of Impressionism can be regarded as the conclusion of 19th-century realism,* the method, which openly displayed the intrinsic means of painting, was an original one. Brushstrokes carried their chromatic message without naturalistic disguise; they pretended to be nothing but dashes of paint.** It was in this respect and in the all-embracing unity*** of colour**** and handling that resulted, rather than in its realism,# that Impressionism founded the new tradition of modern art. Other qualities that emerged in the 1860's had no immediate sequels in Impressionism.’#*

#**

*(See E[ncyclopaedia of ]V[isual] A[rt] 5)

**{R~?}

***C

****{R~}

#{S~}

#*(eg blank backgrounds)

#* – ibid [(Encyclopaedia Britannica 25:367)]

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[continued]

‘The reliance on the separate, undisguised touch of the brush in the form that became characteristic of Impressionism is perhaps first apparent in sketches of the sea* at Dieppe painted by Delacroix in 1852[ce].** The economy of Manet's touch in the 1860s[ce]*** was affected by Spanish and Dutch examples as well as by Delacroix, but his seascapes**** and racecourse pictures of 1864[ce] are significant. It was in painting the sunlit # ripples of the Seine river at La Grenouillère in 1869[ce]#* that Monet and Renoir developed the full impressionist style, and many of the most characteristic of Monet's later pictures represent light on water.#**

#***

*R~

**64R~1848|C1856[ce]

***64r~|S~1864[ce]

****R~

#

		C
	/
R~

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

#**

	C
	/	/
R~	/
	{r~}

#*** [– ibid (Encyclopaedia Britannica 25:367)]

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‘… The suggestion* of an art based on the notion of pure colour was suggested* by several sources. The example of Delacroix had a deep significance for the 19th century in France, but it is possible that knowledge of painting in England – “that home of fanatical colourists,”** as Baudelaire had called it – was also a stimulus. The description of Théophile Gautier, a friend of Manet, of the prismatic color of the English painter William Holman Hunt’s “Strayed Sheep” when it was shown at the Exposition Universelle in 1855[ce] reads like an anticipation of the new style.

***

*[sic]

**J~-G~?

(cf Romanesque/Gothic cathedral windows)

*** [– ibid (Encyclopaedia Britannica 25:367)]

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[continued]

‘… From this time* onward modernity and the necessity for a manner that is specifically of the artists' time, that is to say sharply differentiated from his predecessors’, have been the recurrent concerns of artists and critics.’

**

*(c[irca]1885[ce])

** – ibid [Encyclopaedia Britannica 25:367]

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‘In 1846[ce]* the qualities proper to a specifically modern art were discussed by the French writer Baudelaire in his essay on the French Salon. He discerned that colour** would be foremost among these modern qualities, but he still imagined the new art in the context of the Romantic movement. *** In the decades that followed, after 100 years of historicism, the need for modernity was seen to involve not only a new style but contemporary subject matter, and in 1863 Baudelaire praised the draftsman Constantin Guys as “le peintre de la vie moderne” (“the painter of modern life”).

****

*{64G~1848[ce]}

**{R~?}

***{

		R~
	/
G~

}

**** – ibid [Encyclopaedia Britannica 25:367]

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