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‘Woman with a Parasol’, Claude Monet, 1875, oil on canvas, 100 x 81 cm

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‘Woman with a Parasol’, Claude Monet, 1875, oil on canvas, 100 x 81 cm

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1. short, quick brush strokes unblended. Vibrant colours depict a fresh and almost exaggerated warmth/ coolness to the light and shadow. Figures of the same completion of the landscape creating a whimsical feeling.

2. Painted outside, with less of a pose and more movement. Informal in the sense that it wasn’t the traditional portrait with a posed subject, it was more a vignette of a happy day out.

3. Because they invented the camera and the paint tube. May have been to capture emotion in a more expressive, creative and colourful way than a camera that simply reflects reality.

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Degas, Edgar. Blue Dancers, 1898-99, pastel on paper, 65 x 65 cm
Monet, Claude. Springtime, 1872, oil on canvas, 50 x 65.5 cm
Pissarro, Camille. The Boulevard Montmartre at Night, 1897, oil on canvas

These artworks exemplify the conventions of Impressionist art through their brushwork and use of colour and light, emphasising these visual qualities as the defining features of the artworks. In Springtime and The Boulevard Montmartre at Night, the brushstrokes are short, distinct and expressive which creates a textured surface. The blocks of pastel that form the women in Blue Dancers are smoother and more rendered, however they still retain the expressive quality that defined Impressionism through the textured shapes in the dresses. All three artworks use vibrant colours that aren't strictly naturalistic. The artists experimented with bright colours, challenging the restrictive conventions of art established by the academy which favoured subtle, realistic colours. These artists further challenged the traditions of the time through their depictions of light and shadow. The artworks deviate from the accepted expressions of light and shade in favour of expressive lighting that highlights the sense of a fleeting impression. In The Boulevard Montmarte at Night, Pissarro couples vibrant colours with the contrasting light of the streets and darkness of the night. Through his abstraction of the landscape, Pissarro creates a dreamy atmosphere that reflects the night life in Paris. These artworks further rejected the conventions of art by depicting scenes that focused on the subjective aspects of their subject matter. They rejected the traditional perception of art as a medium to replicate reality, instead capturing scenes as an imitation of their real counterparts. These artists rejected the established rules of art as an opportunity to push its boundaries, changing the elements of art to reflect the changing attitudes of the time.

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Key visual qualities
-Limited colour palette with blue, orange and a bright red

-He creates a strong contrast with the orange and the dull colours surrounding it

-It is not detailed but it still reveals what the artists is trying to show

How do they challenge the traditions at the time?
-it rebelled against the classical subject matter and focused more on capturing moments in time, in this case, the sunrise on the sea with boats

The Card Players by Paul Cezanne

Key visual qualities
-no bright colours, use of earthy colours-faces of the people aren’t detailed-the composition of the work is simple

How do they challenge the traditions at the time?
-captures a moment in time rather than the ideal pose that people desired at the time

Woman Reading by Edouard Manet

Key visual qualities
-earthy and dark colours except for a few hints of bright red-not detailed but enough for the viewer to make out the subject

How do they challenge the traditions at the time?
-just reflect life, the woman in the painting is casually reading a newspaper which is not classical or dramatic it is just a scene that anyone could see in a glance

Why did they want to break the rules?

-The invention of the camera and paint tubes allowed artists to expand their horizons and expand on what they could create

-Life was changing and art had to reflect that

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Haystacks, Claude Monet, 1891, Oil on canvas
The Dancers in Blue, 1897, Edgar Degas, Pastels
In the Dining Room, Berthe Morisot, Oil on canvas
1. Artwork  1: Dramatic lighting and shadows, Captured poses and movements that were rarely poses, Experimented with angles, choosing a high angle, Vibrant colours,
Artwork 2: Loose brushwork, Contrasting pastels, Light use of colour, Merging objects in the background, Hard edges to establish structure
Artwork 3:Recorded changing pattern of light and atmosphere of landscape, Series depicting same view of haystacks many times , Small brushstrokes of vibrant colour which make his paintings shimmer
2. Chose to paint landscapes over the traditional portraiture artworks. Painted the same object many times with different lighting effects, in order to capture how objects looked in moments throughout the day.
Fleeting, unblended brushstrokes and more neutral, pastel colours created a messier finish as though seen at a glance, a signature feature of the impressionism movement.
3. New technologies of the paint tube and camera, allowed for moments and movements to be captured. These new technologies and changing times encouraged artists to rebel against the traditional artistic styles and experiment with lighting and colour

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Claude Monet, The Water Lily Pond, 1899, Oil Paint

Claude Monet, Paul Cézanne, and Édouard Manet, Le Dejeuner sur l'herbe, 1862, Oil Paint

Claude Monet, Poppies, 1973, Canvas Fabric

1.     Small thin visible brushstrokes. Accurate depiction of light and its changing effects. Depiction of landscapes as how its seen through the viewers eyes- an impression of something

2.     They abandoned traditional three-dimensional perspective. Rejected the clarity of form that had previously served to distinguish the more important elements of a picture from the lesser ones. Critics thought and said that impressionists couldn't draw and considered their colours vulgar.

3.     They could not afford to wait for France to accept their work, so they established their own exhibition. Impressionists had to “break the rules” of traditional art in order to capture the eye-dazzling effects of light, atmosphere, and movement in fresh new ways. They were also enabled to do this through the invention of the paint tube which allowed them to paint outside and capture scenes in fleeting moments

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Helen McNicoll, On the Cliffs, 1913
Claude Monet, Haystacks (End of Summer) 1890-91
Dominique Lang, The Dam (Le Barrage), 1913

1. short brush strokes to capture the moment with focus on the overall mood and feeling rather than details and strict realism. objects and figures not as cleanly defined + refined as realistic paintings of the time

2. current art traditions were rigid and focused on depicting realistic scenes of historical, cultural or religious significance. portraits were popular. impressionism focused on depicting the feel of a moment rather than its exact appearance, and often focused on landscapes or ordinary moments.

3. the french art academy was very exclusive and not open to new art styles and techniques. younger artists who wanted to challenge the popular conventions of artmaking were rejected many times for not following the current traditions.

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1. Vibrant colours mixed directly on canvas; short brush strokes indicating movement; open composition; natural, complex and dappled lighting from multiple sources.
2. Impressionist artworks challenged the conventions of previous artworks by subjects that existed purely outside the studio - natural settings, crowds or isolated instances of people in dynamic positions, fleeting moments, etc. The Impressionists eschewed traditional subjects such as religion and history in favour of capturing the ephemeral present. With the invention of the camera, artists no longer saw a need to perfectly capture the past, and were also able to depict life from new, unconventional angles.
3. The Impressionists sought to break the conventions of art because the art world had become saturated with Romantic and Realist portraiture. New styles of artmaking were rejected by critics and galleries (namely the Academie des Beaux-Arts) for their unconventional themes and technique. With such large quantities of art rejected, combined with the opening of the Salon des Refuses (Salon of the Refused) and the enabling of new technology such as the paint tube and the camera, Impressionism was able to spurn itself into a fully-fledged artistic movement.

The Artist's Garden at Giverny c. 1900, oil on canvas, Claude Monet
Le Moulin De La Galette c. 1876, oil on canvas, Auguste Renior
The Cup of Tea c. 1882, oil on canvas, Berthe Morisot

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Starry Night Over the Rhone c. 1888, Vincent Van Gough, Oil on Canvas

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Starry Night Over the Rhone c. 1888, Vincent Van Gough, Oil on Canvas

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1. focuses on the depiction of a colours' vibrancy. it is painted from a high angle and its perspective is a little wonky. the subjects within the piece are all equally out of focus
2. strays away from realism and chooses to focus on concise brush strokes to depict the atmosphere from an emotional perspective.
3. to implement motion and emotion within their works. They were able to stray away from the religious influences and experiment with new techniques.

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The Water Lily Pond c. 1899, Claude Monet, Oil on Canvas,  93 cm x 74 cm, Metropolitan Museum of Art

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The Water Lily Pond c. 1899, Claude Monet, Oil on Canvas,  93 cm x 74 cm, Metropolitan Museum of Art

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3. Following the invention of the 'Paint Tube' and other technological advancements, artists began to rebel against the traditional techniques and styles of painting. Impressionism coalesced in the 1860s when a group of painters including Claude Monet, Alfred Sisley and Pierre-Auguste Renoir pursued plein air (painting outside) painting together.

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Impression Sunrise c. 1875, Claude Monet, Oil on Canvas, 48 cm x 63 cm, Musée Marmottan Monet

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Impression Sunrise c. 1875, Claude Monet, Oil on Canvas, 48 cm x 63 cm, Musée Marmottan Monet

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3. Following the invention of the 'Paint Tube' and other technological advancements, artists began to rebel against the traditional techniques and styles of painting. Impressionism coalesced in the 1860s when a group of painters including Claude Monet, Alfred Sisley and Pierre-Auguste Renoir pursued plein air (painting outside) painting together.

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Girl With Peaches - Valentin Serov - 1887
1.  short brushstrokes and abrupt transitions between colours with no solid outlines. unfinished look gives it vibrancy and animation
2. by rejecting the smoother blending and hyperrealism favoured previously. Serov was Russian and did not see the French impressionists' work unitl after completing his own.
3. because he wanted to capture spontaneity, and depict the freshness which is often lost in paintings when they're more realistiv and stagnant.

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Claude Monet, Woman with a Parasol-Madame Monet and her Son 1875, oil paint. // Pierre-Auguste Renoir, Luncheon of the Boating Party 1880-1881, oil paint// Claude Monet, Impression Sunrise 1872, Oil paint                    

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Claude Monet, Woman with a Parasol-Madame Monet and her Son 1875, oil paint. // Pierre-Auguste Renoir, Luncheon of the Boating Party 1880-1881, oil paint// Claude Monet, Impression Sunrise 1872, Oil paint                    

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1. All three artworks were created using short visible brushstrokes in vibrant colours, left unblended to convey a sense of movement. Each painting depicts a scene from every day life taking care to depict the changing quality of the light and the shadows. These paintings also do not use black and have an open composition.
2. These artworks challenged the traditions of the time by depicting scenes of mundane, everyday life rather than the religious and historical posed photos that were popular at the time. Each of these paintings seek to capture the essence, feelings and emotions of the scene rather than accurately reconstructing the scene in a realistic manner.
3. Young artists felt stifled by the traditions of the French Academy of Fine Arts, as they only allowed for works depicting traditional subjects using traditional techniques, this did not allow for much creative freedom or expression. On top of this the invention of paint tubes meant that artists could take paints with them and paint "en plein air", this allowed them to experiment with lighting and forced them to work quicker to capture the moment. Finally, with the invention of the camera capturing scenes realistically was less imperative, and so artists attempted to capture the colours and emotions that the cameras can not. Artists work's reflected the changing social climate of the time.

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The Dance Class c. 1874, Edgar Degas, Oil on Canvas, 83.5 x 77.2 cm, Metropolitan Museum of Art

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The Dance Class c. 1874, Edgar Degas, Oil on Canvas, 83.5 x 77.2 cm, Metropolitan Museum of Art

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1. Painted from a raised perspective allows the artist to create a sense of perspective, following the lines on the floor. It is painted in delicate tones, the ballerinas dresses enlivened by different glittering hues of white. The large stretch of empty space contrasts with the varied and busy detail of the ballerinas and their postures.
2. The artwork challenged traditions of the time, rebelling against the classical subject matter and embraced modernity. Degas desired to create works that reflected the world in which he lived. He focused on how light could define a moment in time and used colour to provide definition instead of black lines.
3. Following the invention of the 'Paint Tube' and other technological advancements, artists began to rebel against the traditional techniques and styles of painting. Impressionism coalesced in the 1860s when a group of painters including Claude Monet, Alfred Sisley and Pierre-Auguste Renoir pursued plein air (painting outside) painting together.

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Woman with a Parasol - Madame Monet and Her Son c. 1875, Oil on Canvas, Claude Monet 

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Woman with a Parasol - Madame Monet and Her Son c. 1875, Oil on Canvas, Claude Monet 

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1. short brush strokes that play with vibrant colours, depicting light and movement. figures aren't "completed" despite being the centre focus.
2. work was painted outdoors and wasn't a formal portrait. the artwork was quick and depicted a vague memory rather than a realistic scene
3. to implement motion and emotion within their works. They were able to stray away from the religious influences and experiment with new techniques.

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a) Two crabs, oil on canvas, January 1889, Vincent van Gogh:

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a) Two crabs, oil on canvas, January 1889, Vincent van Gogh:

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1. a) Uses a vibrant palette that exaggerates the natural lighting and draws out the contrast between the orange crabs and blue-green water. The unresolved brush strokes suggest movement and life in the crabs.

b) Woman with a Parasol-Madame Monet and her Son, oil on canvas, 1875, Claude Monet
1. b) Makes use of quick unresolved brush strokes to form rough shapes of the grass, clouds, and people. It was a practice of impressionists to paint outside, allowing Monet in this work to depict the warm sunlight.

2. By painting unconventional subject matter and creating an unresolved, bright, dynamic piece, impressionist artists challenge the accepted standard of true to life art featuring religious or historical themes.

3. The new developments and inventions for media creation (paint tubes and cameras) meant that artists no longer had to conform to realist styles and portraits as a photo would serve the same purpose. It gave them room for self-expression and interpretations of the world around them so that they could explore more vibrant and dynamic styles. The camera also allowed them to make reference to fleeting moments captured as a photo. The paint tubes allowed them to take their materials with them very easily, so there were more outside scenes and lighting. The previous shunning of impressionist artists from prestigious academies or galleries also inspired more artists to defy convention so that they could start their own movement, (helped by the gallery Napoleon opened for rejected art).

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Skull of a Skeleton with a Burning Cigarette c. 1885, Oil on Canvas, Vincent van Gogh, Wild Poppies near Argenteuil c. 1873, Oil on Canvas, Water Lily Pond c. 1900, Claude Monet, Oil on Canvas

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Skull of a Skeleton with a Burning Cigarette c. 1885, Oil on Canvas, Vincent van Gogh, Wild Poppies near Argenteuil c. 1873, Oil on Canvas, Water Lily Pond c. 1900, Claude Monet, Oil on Canvas

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1. Short brush strokes, that up close look rather crude, but when the entirety of the piece is viewed, it is all brought together. This is seen in van Gogh's Skeleton piece, where upon closer inspection you can visibly see all the brush strokes that make up the skull and bones.
2. The rougher view of the subject was far less refined than traditional Classical paintings, yet this was the intended effect. There was less of a need to create a completely realistic depiction of the scene, as artists often did their paintings in one sitting at the location thanks to the invention of paint colour tubes, requiring them to often work quicker, yet this was used as stylistic choice, such as in Claude Monet's Wild Poppies, where the entire painting is far less resolved in a traditional-classical sense.
3. Several inventions aided the impressionist style, and made people want to break from the traditional style. Paint tubes allowed artists to take their work to the location, preserving the paint outside the studio. The invention of photographs also allowed scenes to be captured from angles that could only be caught as a moment in time in memory, which would not work for a painter at the time. But a photo could preserve that moment, and allow an artist to look back over it for reference. Claude Monet's Water Lily Pond is one such piece that was most likely painted in person, but not a suburban scene that could be seen from a studio, capturing all the vibrancy of the Water Lilies and pond.

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Skull of a Skeleton with a Burning Cigarette c. 1885, Oil on Canvas, Vincent van Gogh

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Skull of a Skeleton with a Burning Cigarette c. 1885, Oil on Canvas, Vincent van Gogh

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1.