Impressionism

The Impressionist movement began with the grouping of like-minded artists who were dissatisfied with the classical training and the "institutional structure which maintained these standards, to which artists had to subscribe in order to be successful" (9).  The term "Impressionist" is vaguely defined, with the two traditional interpretations being rejected for shortcomings in failing to account for the entirety of the painting in favour of more modern perspectives.  These four approaches attempt to ascertain the extent to which the painting rebels against contemporary ideals, the social and history context behind which it was painted, the way in which gender roles are depicted, and the artists' attempts to give shape to their impressions and sensations.  While each of these interpretations has its own individual merit, the extent to which art is examined seems to de-emphasize the original intention of the artist; namely, to create a noteworthy piece of art.

Impressionists were ridiculed for showcasing "half-finished" pieces and accused of being lazy.  However, the author points out that "this is not the result of incompetence or hasty working" but "a feeling of what it is like to behold a scene whose movement and variety make it hard to take it in at one glance" (24).  Indeed, Impressionism was based on an artists own interpretation of nature, attempting to see the subject through the innocent eyes of a newborn apart from the prejudices and chains of human civilization.  The result was painting in patches of colour as opposed to painting objects.  Renoir and Monet painted the same scene at La Grenouillere side by side, producing two radically different versions.  Ironically, the "Impressionists, despite claiming to paint spontaneously and innocently what they saw and felt, paradoxically had to learn how to achieve the desired effect by studying artistic precedent, Japanese sources, and scientific and esthetic theories" (31).  Several of the Impressionists were influenced by contemporary writings, which asserted that raw sensations are best represented by patches of colour, "rather as the vision of a blind man who had just regained his sight" (28).  Interestingly, the artistic movement parallels the development of similar sentiments in authors, reinforcing the magnitude of revolutionary change.