If anyone led Impressionism during the 1860s and early 1870s, it was surely Jongkind.
painting
From his first influence by Impressionism, van Rysselberghe explored a world of vivid light and colour, painting some of the most distinctive works of the late nineteenth and early twentieth centuries.
The influence of the Impressionists led Claus from rural realism to his distinctive ‘luminism’ and eventually, whilst in exile in London, to his own variant of impressionism.
Whilst the French Impressionists of the day may only have started painting when the sun came out, it was when the sun went in (or down) that Vogels came into his own.
His richly colourful paintings of women are reminiscent of Renoir at his best, and some of his later studies of nudes appear to owe much to the influence of Degas.
Of the more prolific and influential members of the Macchiaioli, Fattori was the only one to adhere to the group’s principles throughout his career, at cost to his income and recognition.
Apart from his early years as a somewhat atypical member of the Macchiaioli, Boldini remained on the periphery of those other movements and kept his distinctive style as the Master of Swish.
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.
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.
I am currently planning the following major articles and series for the coming three months: Macs and Technology […]
The Eclectic Light Company 