Modern culture is believed to be the brainchild of two versions of the Protestant worldview: the northern French positivism and irrationalism. If the first is trying to discern the signs of the afterlife in the image of reality (which is actually a reflection of the culture established meanings), the second doubts of the possibility to view anything except for one’s own feelings. Impressionists were trying to recreate their sensory impressions with scientific precision. Analytical approach to his own artistic activities allowed them to make a number of discoveries and formulate several principles. Impressionism is actually the direction in art of the last third of the 19th - early 20th centuries, whose members sought to capture the real world in its mobility and variability, truthfully convey moments of life. Impressionism (the term comes from the French word for ‘experience’) originated in the 1860s in France, where painters Manet, Renoir and Degas brought variety, dynamics and complexity of modern urban life, freshness and immediacy of perception of the world in their art works. Their works are mostly characterized by apparent imbalance, fragmentary compositions, unexpected angles, and glazed sections shapes.
Impressionism vs Post Impressionism
Another version of the picturesque romanticism preceding Impressionists is Barbizon (Corot, etc.) sought to capture the mood of the finest weather, atmosphere. Much attention was paid by them to writing sketches in nature, while Daubigny used to paint right ‘en plein air’. Such a principle became the rule for impressionists: the main ‘protagonist’ of their paintings was air (being the light environment). As a result, the actual objects in their paintings dissolve, at least their scenic properties have the
References: Galenson D. W., Weinberg. B. A. (Sep., 2001). Creating Modern Art: The Changing Careers of Painters in France from Impressionism to Cubism. The American Economic Review. Published by: American Economic Association. Vol. 91, No. 4, pp. 1063-1071. Retrieved from http://www.jstor.org/stable/2677826 Hauser, A. (2005). The Social History of Art: Naturalism, impressionism, the film age. Vol.4, London, New York. Roskill, M. W. (1970). Van Gogh, Gauguin and the Impressionist circle. Thames & Hudson (London). Book (ISBN 0500490015). Wadley, N. (1991). Impressionist and post-impressionist drawing. L. King (London). Book (ISBN 1856690083). Rewald, J. (1973). The history of impressionism. Museum of Modern Art (New York and Greenwich, Conn.). Book (ISBN 0870703606). 4th, rev. edition.