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Definitely Not A Mimic poster
Around 1862, there were young painters who believed that art was stiff due to the overly rigid rules taught at the Fine Arts School and they joined together in Paris with Claude Monet. On the path outlined by Eugène Boudin and Johan Barthold Jongkind in the 1850s-1860, they painted outdoors, following life patterns, and sought to capture fleeting manifestations of the atmosphere. By avoiding the studio and its artificial values, they absorb visual sensations from the landscape, paint the light and its effects.
The artists are trained in private and freelance studios (Gleyre studio, Swiss School of Fine Arts) and exchange ideas at the Guerbois Café. Impressive aesthetics, published by William Turner, embraced the influence of Gustave Courbet and the realist school. The devotee Delacroix’s “followers” were the ones who pre-tested them the division of shades, complementary colors, and color contrasts. They also explored new inspirations, enlisting Japanese painting and photography newly invented in 1839.
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During the 19th century, the Academy of Fine Arts was the backbone of the French art organization and the annual exhibitor in the Salon de Paris. Any new works that challenge these standards will be scrapped and many of the young Impressionist’s creative young painters are excluded from this exhibition. The artists are rejected by the Galleries and are considered “cursed”, they live in a miserable situation so they find a way to make people known to themselves by their own exhibitions. The first manifestation took place in Paris in 1874 in the photographer’s studio Félix Nadar, on the Capucines. On this occasion Charivari journalist Louis Leroy gave birth to the word “impressionism” by sarcastically titled Claude Monet’s famous painting “Impression, sunrise”. Seven other exhibitions continued until 1886. From this point the group started to split up and then disband. From the years 1880-1890, the movement contacted with foreign artists, but mainly paved the way for liberal aesthetic reactions. Despite the hostility of many, Émile Zola and the painter Paul Durand-Ruel, who advocates for dramatic painting, have moved into a peaceful world in which no social, political and economic problems arise. of the times. Journalist and art critic Thédore Duret purchased paintings and published Impressive History in 1904.
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