Impressionism: Introduction and Background
Known for its radical departure from traditional aesthetics in painting and the decorative arts, Impressionism was a movement deeply rooted in its ideological, cultural, political, and sociological context. The characteristic visual features of Impressionist painting include experimentation with untraditional colors and styles that signal the early transition towards non-representational forms. Subject matters in Impressionist art changed from depicting officially sanctioned people, places, and symbols towards capturing snapshots of daily life. Beyond its core aesthetics, which do vary from artist to artist, Impressionism also highlighted changing social hierarchies related to race, class, and gender. Artists no longer worked solely on commission from religious or political patrons but also from a burgeoning bourgeoisie. The diversity within Impressionism also draws attention to the ways the movement manifested differently in different geographic regions, although the movement remained firmly rooted in France, and centered in Paris. From its beginning in the 1870s until its shift towards post-Impressionism around the 1890s, Impressionism encapsulates the artistic zeitgeist of the late nineteenth century. This gallery presents six quintessential Impressionist works of art.
Edouard Manet “Olympia”
Rendered in oil on canvas, Manet’s “Olympia” signifies many of the most striking features that characterize Impressionism. As Gilman (1985) points out, “Olympia” deconstructs and confronts social hierarchies and realities by depicting a bold female courtesan waited on by her black servant. Therefore, Manet could be inadvertently commenting on white privilege as well as on female sexuality. The subject represents the modern “defiant heroine,” signalling the birth of the feminist movement (Flescher, 1985). Depicting the female nude was nothing new in the nineteenth century, but rendering her in a way that is neither idealized nor fully denigrated did mark a departure from how women had been depicted in past European paintings. The voyeurism of the “male gaze” is subverted, as the woman in Manet’s painting...
References
Cassatt, M. (1893). The child’s bath. Oil on canvas.
Degas, E. (1880). Little fourteen year-old dancer. Bronze, cotton, satin, and wood.
Flescher, S. (1985). More on a name: Manet’s “Olympia” and the defiant heroine in mid-nineteenth century France. Art Journal 45(1). DOI: https://doi.org/10.1080/00043249.1985.10792273
Gilman, S.L. (1985). Black bodies, white bodies. Critical Inquiry 12(1): 204-242. DOI: https://doi.org/10.1086/448327
Jacobus, M. (1995). Berthe Morisot: Inventing the psyche. Women: A Cultural Review 6(1995): 191-199. DOI: https://doi.org/10.1080/09574049508578235
Manet, E. (1863). Olympia. Oil on canvas. Musée d'Orsay.
Monet, C. (1873). Poppies. Oil on canvas.
Morisot, B. (1875). The Cradle. Oil on canvas.
Samu, M. (2004). Impressionism: art and modernity. The Metropolitan Museum of Art. https://www.metmuseum.org/toah/hd/imml/hd_imml.htm
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