What did the Impressionists aim to doTheir subject matter and their Essay

What did the Impressionists aim to doTheir subject matter and their distinctive scene rule - Essay ExampleThe Impressionist movement grew out of an earlier movement called Realism which flourished in the politics funded artistic salons in Paris in the middle of the 19th snow. During the second half of the nineteenth century other artists took up this emerging course. In the middle of the 19th century painters were moving away from reckon pictures of classical scenes and began to focus more on everyday events and people drawn from real life. It is generally trustworthy that the Realist painter Edouard Manet was a key figure in the drive to achieve a painting style that could more closely approach real life. There was a growing interest in painting people and things out of doors, and in natural light, which was a big change from the fashion of the day for interiors and portraits. unrivalled of his most influential pictures was the Luncheon on Grass which shocked Parisian audien ces because it showed realistic people in modern clothing surrounding a naked woman in natural landscape. Gunderson points out that it was non only the daring subject matter moreover also the painting style that caused consternation in artistic circles He used broad brush strokes that relied on the juxtaposition of different colors to make up depth. He did not try to hide the brushstrokes to make the image appear real instead he believed that the viewer should see the paint on the canvas. He focused on light (Gunderson, 2008, p. 12)... His main write up was the world of theatre and dance, which sets him apart from most other Impressionists, but he shared many of their techniques. He belonged firmly to the Realist school in his early career, but increasingly made use of the sketchiness and more unsanded brush work of the Impressionists in his later work. Nevertheless, he consistently denied that he was part of the Impressionist movement. It is a characteristic of the Impressioni sts as a group that they argued and squabbled with each other about who was part of the group, and who was not. They endlessly debated single others works, the salon critics opinions, and the various techniques that they used. (Rewald, 1961, p. 543) This creative chaos produced a genuine and very fruitful era of expert experimentation which influenced many later styles and movements. It was not the work of any one artist in particular, but rather a collective effort that evolved as they competed to have their works shown in the salons and appreciated by a sceptical public. The paintings were often painted beyond Paris, however, in gardens or along the river Seine. At kickoff the juries who decided which paintings could be displayed in public galleries were not sympathetic to the new style. It was not so a good deal the subject matter that was hard to accept at first, but way that the artists approached their work For the impressionist, as the line implies, the concept of the im pression provided the theoretical means for approaching the relation of individual and universal truth. The artists characteristic skilful devices, such as accentuated (spontaneous) brushwork and bright color, are signs of their