There are several uncanny parallels with the Impressionists, including the importance of the tache and plein air painting, early critical hostility followed later by acceptance, and of course the tragic deaths of Sernesi and Bazille in war.
Impressionism
This book looks at the type of painting which was central to Impressionism – the plein air landscape – and traces its development from inception by Desportes in the latter years of the seventeenth century, through the Barbizon School, to its peak in the late nineteenth century.
This article summarises the information that I have now obtained from working through that catalogue raisoné, and includes new information on Pissarro’s series paintings.
“Inventing Impressionism. Paul Durand-Ruel and the Modern Art Market” Edited by Sylvie Patrie; contributions by Anne Robbins, Christopher […]
Perhaps they are the landscape equivalent of serial self-portraiture after all.
This article considers Claude Monet’s series paintings: how they developed, which major series he produced, and what he intended by painting them.
This article considers Alfred Sisley’s series paintings: how they developed, which major series he produced, and what he intended by painting them.
This article considers Camille Pissarro’s series paintings: how they developed, which major series he produced, and what he intended by painting them.
We are all familiar with Monet’s famous series paintings of Grainstacks at Giverny and Rouen Cathedral. This series of articles investigates series painting, and the Impressionists who painted series.
One of the most atmospheric paintings by any Impressionist, it is mystifying that Sisley’s wonderful landscapes have been all but forgotten.
The Eclectic Light Company 