{Modern Art [continued (17)]{– Impressionist Painting}}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:68-69][19910512:1718fk]{Modern Art [continued (17)]{– Impressionist Painting}}[Extracts from source text with ms notes][12th May 1991]

19910512.1718

[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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