Impressionismus

Impressionism: A Deep Dive into Light, Color, and the Modern Revolution in Art

Introduction:

Have you ever been captivated by a painting that seems to shimmer with light, where brushstrokes dance across the canvas, and where the subject itself feels almost fleeting? You've likely encountered the magic of Impressionism. This movement, far more than a mere artistic style, represents a seismic shift in the history of art, challenging conventions and forever changing how we perceive and represent the world. This in-depth exploration will delve into the heart of Impressionism, examining its origins, key figures, techniques, and enduring legacy. We'll uncover the revolutionary ideas that fueled this movement and explore its lasting influence on art and culture. Prepare to be transported to the world of shimmering sunlight, fleeting moments, and the vibrant colors that defined a revolution.

1. The Dawn of Impressionism: Context and Origins

Impressionism wasn't born in a vacuum. It emerged in 19th-century France, a time of rapid social and technological change. The rise of industrialization, the burgeoning middle class, and advancements in paint technology all played a crucial role. Artists were increasingly rejecting the rigid academic style that dominated the art world, seeking new ways to capture the ephemeral beauty of the everyday. The Salon des Refusés, a controversial exhibition of rejected works from the official Paris Salon, became a pivotal moment, showcasing the works of artists who would later become known as Impressionists. This rejection of established norms solidified their identity as a revolutionary movement, embracing spontaneity and immediacy over meticulous detail and traditional representation.

2. Key Figures and Their Contributions:

Several pivotal figures shaped the Impressionist movement. Claude Monet, considered the father of Impressionism, masterfully captured the effects of light and atmosphere, famously painting his water lilies repeatedly to explore subtle changes in light and color. Pierre-Auguste Renoir, known for his depictions of Parisian life and celebrations, brought a warmth and vibrancy to his canvases. Edgar Degas, while often associated with the group, possessed a unique style focusing on movement and perspective, especially in his ballet dancers. Camille Pissarro, a pioneer in Impressionism, experimented with various techniques and was a mentor to many younger artists. Berthe Morisot, a significant female Impressionist, offered a unique female perspective and innovative brushwork. Alfred Sisley and Frédéric Bazille further enriched the movement with their individual styles and perspectives. Understanding these artists' individual contributions helps unravel the complexities and nuances of the entire movement.

3. The Techniques of Impressionism: Brushstrokes and Light

Impressionist techniques were as revolutionary as their subject matter. They employed short, visible brushstrokes, eschewing the meticulous blending favored by academic artists. This visible brushwork became a signature feature, contributing to the vibrant energy and movement within their paintings. They focused on capturing the fleeting effects of light and atmosphere, often painting en plein air – outdoors – to directly observe the changing light. They used a broken color technique, applying pure, unmixed colors side-by-side, allowing the viewer's eye to blend them optically, creating a shimmering effect. This departure from traditional techniques was instrumental in the movement's unique aesthetic.


4. Subject Matter: Everyday Life and the Modern World

Unlike academic paintings that often depicted historical or mythological scenes, Impressionists turned their attention to the everyday world. They painted bustling Parisian streets, leisure activities in the countryside, and intimate moments of daily life. Their subjects were not idealized but realistically depicted, showing the vibrancy and beauty of the ordinary. This focus on the modern world was revolutionary, reflecting the changing social landscape of 19th-century France and setting a precedent for future artistic movements.


5. The Legacy and Lasting Influence of Impressionism:

Impressionism's impact extends far beyond the art world. It profoundly influenced subsequent artistic movements, including Post-Impressionism, Fauvism, and Expressionism. The emphasis on personal expression and subjective experience paved the way for modern art's exploration of individuality and emotional depth. Impressionism's influence is also visible in various art forms, including photography and film, and even in design and advertising. Its enduring appeal lies in its ability to capture the ephemeral beauty of the world, evoking emotion and inviting viewers to experience the world anew through its vibrant colors and dynamic brushstrokes.


Article Outline: "Understanding Impressionism"

Introduction: Defining Impressionism and its historical context.
Chapter 1: Key figures and their artistic contributions.
Chapter 2: Technical innovations and stylistic characteristics.
Chapter 3: Subject matter and thematic concerns.
Chapter 4: The impact and legacy of Impressionism.
Conclusion: Impressionism's enduring relevance in the modern world.


(Note: The detailed explanation of each chapter point is provided above in the main article body.)


FAQs:

1. What is the defining characteristic of Impressionist paintings? The defining characteristic is the visible brushstrokes and emphasis on capturing the fleeting effects of light and atmosphere.

2. Where did the Impressionist movement originate? The Impressionist movement originated in 19th-century France.

3. Who are some of the most famous Impressionist painters? Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, and Berthe Morisot are among the most famous.

4. What is "en plein air" painting? "En plein air" painting refers to painting outdoors to capture the natural light and atmosphere.

5. How did Impressionism challenge traditional art? Impressionism challenged traditional art by rejecting academic styles, emphasizing subjective experience, and focusing on everyday subjects.

6. What is the "broken color" technique? The "broken color" technique involves applying pure, unmixed colors side-by-side, allowing the viewer's eye to blend them.

7. How did Impressionism influence later art movements? Impressionism profoundly influenced movements like Post-Impressionism, Fauvism, and Expressionism.

8. Is Impressionism still relevant today? Yes, Impressionism's emphasis on capturing the fleeting beauty of the world remains relevant and inspiring.

9. Where can I see Impressionist paintings? Major museums worldwide, including the Musée d'Orsay in Paris and the Metropolitan Museum of Art in New York, house significant Impressionist collections.


Related Articles:

1. Post-Impressionism: Beyond the Brushstroke: Explores the evolution of Impressionism and the emergence of Post-Impressionism.

2. Claude Monet: A Life in Light: A biography of Claude Monet focusing on his artistic development and key works.

3. The Salon des Refusés: A Turning Point in Art History: Details the historical context and significance of the Salon des Refusés.

4. Pierre-Auguste Renoir: The Celebration of Life: Focuses on Renoir's joyful and vibrant depictions of Parisian life.

5. Edgar Degas: Capturing Movement and Perspective: Examines Degas' unique style and his focus on movement and perspective.

6. Berthe Morisot: A Pioneer of Impressionism: Celebrates the contributions of Berthe Morisot, a significant female Impressionist.

7. The Techniques of Impressionism: A Practical Guide: Provides a step-by-step guide to understanding and replicating Impressionist techniques.

8. Impressionism and Photography: A Comparative Study: Explores the relationship between Impressionism and the emerging art of photography.

9. Impressionism's Influence on Modern Design: Traces Impressionism's impact on various design fields, including fashion and advertising.


  impressionismus: En Passant Alexander Eiling, Eva Mongi-Vollmer, 2020-05-19 Discover the sculptures of Impressionism and how they embody the movement's ideals. Is there such a thing as Impressionist sculpture? Since 1881 when Edgar Degas presented Little Dancer Aged Fourteen at the Sixth Impressionist Exhibition in Paris, the term has existed along with the discourse around it. This book is dedicated to the extensive examination of the question what it would mean to translate the characteristics of Impressionist painting, such as light, colour, ephemerality, and the ethereal, into sculpture. The book features a selection of artists including Edgar Degas, Auguste Rodin, and Medardo Rosso and examines the artistic processes that traverse genres in which one medium is enhanced by others. This valuable, fascinating resource offers a unique addition to the scholarship on the Impressionist era.
  impressionismus: Katherine Mansfield and Literary Impressionism Julia Van Gunsteren, 1990
  impressionismus: Impressionism John I. Clancy, 2003 Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wide array of styles. Nonetheless, it remains a very important school in the annals of art. Any current or budding art aficionado should become familiar with the impressionist movement and its impact on the art world. This book presents a sweeping study of this artistic period, from its origins to its manifestations in the works of some of art history's most revered painters. Following this overview is a substantial and selective bibliography, featuring access through author, title, and subject indexes.
  impressionismus: Monet and the Birth of Impressionism Felix Krämer, 2015
  impressionismus: Frischer Wind Thomas Andratschke, Anne Van Lienden, Katrin Hippel, Nadja Kehe, 2024 The new French art movement known as impressionism blew through Europe like a breath of fresh air'. This publication focuses on artists from Denmark, Germany and the Netherlands, including important representatives of the movement sch as Anna Ancher, Lovis Corinth, Isaac Israels, Hohan Barthold Jongkind, Peder Severin Krøyer, Max Liebermann und Max Slevogt. A selection of highlights from the collections of three museums showcases the individual varieties of Northern Impressionism
  impressionismus: Russian Impressionists and Post-Impressionists Mikhail Guerman, 2022-07-31 The 1860s were marked by a strong realistic movement in Russian painting. Artists became interested in depicting the lives and customs of their fellow countrymen. This new art form was mostly the work of the Itinerants group, who wanted to take art to the people and paint the outdoors. Mikhail Guerman traces the converging lines of Russian and French art in the immensely fertile period of the late 19th and early 20th century.
  impressionismus: Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris Norma Broude, 2002 Once neglected, Gustave Caillebotte (1848-1894), a painter associated with the French Impressionists, has become the subject of intense public interest and renewed scholarly debate. With a series of exhibitions showcasing his work, Caillebotte's enigmatic paintings have begun to exert an unexpected fascination for postmodern audiences and have become rich sites for interpretive debate.
  impressionismus: Lexikon des Impressionismus Maurice Sérullaz, 1974
  impressionismus: Terminologie der Musik im 20. Jahrhundert Hans Heinrich Eggebrecht, 1995 Der Sinn der Sonderb�nde zum Handw�rterbuch der musikalischen Terminologie (HmT) ist es, aus den bereits in 22 Lieferungen erschienen Begriffsmonographien Kompendien zu bestimmten Themen zu ver�ffentlichen. Weil gerade im Umgang mit der Neuen Musik ein besonderer Bedarf an Kl�rung und Klarheit besteht, wied all jenen geholfen, die sich schon immer gerne mit oft gelesenen Themen wie Aleatorik, der absoluten Musik, der Klangfarbenmelodie oder dem Neoklassizismus auseinandergesetzt h�tten. In mehrseitigen Aritkeln und in verst�ndlicher Sprche werden die ,termini technici�ausfuehrlich von allen Perspektiven her beleuchtet. Ein hochwillkommenes Buch! Basler Magazin Aus dem Inhalt: Verzeichnis der in den Monographien dieses Bandes zus�tzlich behandelten Begriffe - Absolute Musik - Aleatorik - Atonalit�t - Autonome Musik - Blues - Cluster - Dauer - Elektronische Musik - Experimentelle Musik - Expressionismus - Funktionale Musik - Gebrauchsmusik - Grundgestalt - Gruppenkompositon - Impressionismus - Jazz - Klangfarbenmelodie - Live-elektronische Musik - Momentum / Moment, instans / instant, Augenblick - Musikalische Prosa - Musique conr�te - Neoklassizismus - Neue Musik - Neue Sachlichkeit- Offene Form - Parameter - Polytonalit�t - Punktuelle Musik - Ragtime - Reihe - Schlager - Serielle Musik - Tonalit�t - Vagierender Akkord - Zw�lftonmusik.
  impressionismus: Impressionnisme et littérature LECLERC Yvan, NAUGRETTE Florence, GENGEMBRE Gérard, Symptôme d’une crise profonde de la représentation et du sujet, dans les deux sens du terme, l’impressionnisme en peinture obligea les autres arts, et en particulier la littérature, à se positionner par rapport à lui. Une telle dynamique s’opère alors que peinture et littérature s’autonomisent pour mieux se rapprocher par métaphore. Cette redisposition s’accomplit de manière privilégiée dans le territoire normand, à comprendre comme construction culturelle. Les communications ici rassemblées se proposent de situer dans ce contexte ou dans cet espace les convergences, voire les homologies, ainsi que les sociabilités, qui rendirent possible et définirent un moment capital de notre modernité.
  impressionismus: The Princeton Encyclopedia of Poetry and Poetics Roland Greene, Stephen Cushman, Clare Cavanagh, Jahan Ramazani, Paul Rouzer, Harris Feinsod, David Marno, Alexandra Slessarev, 2012-08-26 Rev. ed. of: The Princeton encyclopedia of poetry and poetics / Alex Preminger and T.V.F. Brogan, co-editors; Frank J. Warnke, O.B. Hardison, Jr., and Earl Miner, associate editors. 1993.
  impressionismus: Dichtung und Malerei im Dialog Elisabeth Hirschberger, 1993
  impressionismus: Lexikon des Impressionismus Maurice Sérullaz, 1977
  impressionismus: Die Ästhetik des unschuldigen Auges Annika Lamer, 2009
  impressionismus: Sociological Impressionism (Routledge Revivals) David Frisby, 2013-09-13 When Sociological Impressionism was first published in 1981, it was the first comprehensive study on Simmel’s social theory to appear in English since 1925. A pioneering work, it did much to bring about the rediscovery of Georg Simmel as one of the key sociologists of the twentieth century. David Frisby provides a provocative introduction to aspects of Simmel’s social theory, seriously challenging many interpretations of his work, most notably the view that Simmel produced a formal sociology. By drawing on many little-known essays and pieces by Simmel and his contemporaries, the book locates him within the social and intellectual milieu in which he was working. This is a reissue of the second edition, published in 1992, which includes a new afterword confronting critical responses to the first edition. This is an important work, which will be of interest to students of sociology and social philosophy in Germany in the late nineteenth and early twentieth century.
  impressionismus: Monatshefte für Kunstwissenschaft Georg Biermann, 1908 Includes section Rezensionen.
  impressionismus: Das zwanzigste Jahrhundert Bruno Markwardt, 2014-11-27
  impressionismus: Menschengesichte Karsten Lichau, 2014-09-11 Max Picards frühe Schriften zeichnen sich durch eigenwillige literarische und kulturphilosophische Positionen aus. Karsten Lichau lotet die Spannungen und Brüche in Picards oft vorschnell als kulturpessimistisch oder konservativ etikettiertem Frühwerk aus, das zwischen 1914 und 1933 entstand. Im Zentrum steht dabei eine ebenso umkämpfte wie schillernde literarische Figur: das Gesicht. Indem die Studie textnahe Lektüre mit kulturhistorischer Kontextualisierung verbindet, geht sie den Um- und Abwegen der schriftstellerischen Laufbahn Picards nach und eröffnet neue Perspektiven auf seinen weitgehend in Vergessenheit geratenen Beitrag zum literarischen Feld der Weimarer Zeit. Zugleich zeigt die Untersuchung, dass Picards Texte die fiktiven oder prophetischen Gesichte reflektieren, die in außerliterarischen Feldern zirkulieren – von Kunst- und Medientheorie über Geschichtsphilosophie sowie jüdische und christliche Theologie bis hin zur ästhetischen Medizin und Rassenhygiene. Sie lassen sich als eine literarische Physiognomik moderner Kulturen lesen.
  impressionismus: Die deutsche Literatur des 20. Jahrhunderts Hermann Wiegmann, 2005
  impressionismus: Geschichte der deutschen Literatur Bengt Algot Sørensen, 2002
  impressionismus: Angedenken an das Schöne ist das Heil der Erdensöhne, Julius Kornbeck (1839-1920) Christa-Irene Nees, 2017-11-18 Hermann Julius Kornbeck (1839-1920) gehörte zu den nicht wenigen Künstlern, die sich im 19. Jh. außerhalb des Mainstreams sogenannten künstlerischen Fortschritts bewegten und eigene Ziele verfolgten, von anderen Schwerpunkten ausgingen. Aus kunsthistorischer Sicht sind Kornbecks Lebensweg und Ausbildung zum Maler in seiner Zeit nicht singulär. Er bewegte sich zwar nicht innerhalb der Ismen war aber keineswegs isoliert. Viele seiner Malerkollegen legten einen ähnlichen Weg zurück, setzten ähnliche Prioritäten. Misstrauen und erlebtes Ungenügen an der akademischen Praxis in den Kunsthochschulen ließen gerade bei den Landschaftern ein selbstverantwortliches Arbeiten geraten erscheinen. Die Natur wurde ihnen zur eigentlichen Lehrmeisterin, zum Korrektiv allen malerischen Schaffens. Sie führte auch Kornbeck vom Realismus und der Freilichtmalerei zu den Stilformen des Deutschen Impressionismus. Im Wesentlichen bildete der Stellenwert von Natur auch die Basis von Kornbecks kulturgeschichtlicher Verankerung. Seine biographische Prägung durch ein christlich protestantisches Elternhaus, in dem sich Ehre gründete auf Fleiß und Verantwortung, führten ihn in den Kreis der Heimatkunstengagierten und ließen ihn zu einem Exponenten der Kunst-für-Alle-Bewegung werden. Dem als bedrohlich empfundenen Verlust kultureller Werte, der durch die aufkommende Industrialisierung erlebten Zerstörung von gewachsener Schönheit in Landschaft und Natur, der Auflösung gesellschaftlicher Strukturen, sollte Einhalt geboten werden. Kornbecks Kunst war daher keineswegs rückwärtsgewandt, sondern reagierte auf aktuelle Probleme der Zeit. Allerdings gab der Künstler andere Antworten, als man sie heute glaubt einfordern zu müssen. Er begegnete ihnen nämlich nicht indem er sie in seiner Kunst thematisierte, sondern indem er auf Werte verwies, die als Hilfe zu ihrer Bewältigung dienen konnten.
  impressionismus: Meier-Graefe as Art Critic Kenworth Moffett, 1973
  impressionismus: Die Modernisierung des Ich Hildegard Hogen, 2000
  impressionismus: Deutsche Geschichte Karl Lamprecht, 2023-01-14 Unveränderter Nachdruck der Originalausgabe von 1902.
  impressionismus: Der Gegenstand der Erkenntnis Heinrich Rickert, 2018-05-07 Heinrich Rickerts Der Gegenstand der Erkenntnis ist eines der bedeutendsten, aber auch umstrittensten erkenntnistheoretischen Werke seiner Zeit, von dem z.B. William James mit höchster Bewunderung spricht. Rickert war ein Denker mit spezifischen, klaren und festen Positionen, von denen er nur wenige im Laufe seines Denkwegs wirklich aufgab. Gleichwohl hat er an vielen seiner Schriften beständig - teils über Jahrzehnte - gearbeitet und Textänderungen angebracht, meist begriffliche bzw. sprachliche Klärungen. Das wohl beste Beispiel für sein Vorgehen ist das vorliegende Werk. Der Gegenstand der Erkenntnis hat von 1892 bis 1928 sechs Auflagen erlebt und wuchs von 91 auf 460 Seiten; Rickert hat über 36 Jahren in jeder Auflage Änderungen vorgenommen. Um diese kontinuierliche Denk-Arbeit nachzuzeichnen, wird dieses Werk (in Abweichung von den anderen Bänden der Rickert-Ausgabe) in einer historisch-kritischen Edition vorgelegt, in der die beiden wichtigsten Auflagen (die zweite und die sechste) im gesamten Text präsentiert werden und die anderen Auflagen aus den Apparaten ersichtlich sind. Die Edition enthält neben dem umfassenden Editionsbericht Druckfehlerverzeichnisse, ausführliche Herausgeber-Anmerkungen, Personenregister, ein Wortregister sowie anschauliches Material zu Rickerts Textarbeit, aus dem Rickerts Denkentwicklung hervorgeht.
  impressionismus: Kursschwankungen Ada Raev, 2007
  impressionismus: Zeitschrift für Philosophie und philosophische Kritik , 1908
  impressionismus: Der Präsensroman Armen Avanessian, Anke Hennig, 2013-06-26 Der mikrologische Blick auf ein vermeintlich grammatisches Detail, die Verwendung des Tempus Präsens, eröffnet neue Perspektiven auf einen Gründungsmythos der ästhetiktheoretischen Moderne: Das Verlangen nach Präsenz. Dem begegnet vorliegender Sammelband, indem er die Eroberung des Präsens durch den Roman des 20. Jahrhunderts dokumentiert. Die Facetten dieses grundlegenden literaturästhetischen Wandels der Zeitformen vom Präteritum zum Präsens werden vor allem aus fiktionstheoretischer und narratologischer Perspektive nachgezeichnet.
  impressionismus: Modern German Literature Jethro Bithell, 2020-01-31 Originally published in 1939 and revised in 1959, this book traces back to their origins the literary movements and phases of German literature of 1880 to 1950 as they occur and shows how and why they pass over into succeeding phases. It closely analyses Naturalism, Impressionism, Neo-romanticism and Expressionism as well as dealing exhaustively with Surrealism, Magic Realism and Existentialism. The book includes discussion of post-war Anglo-American and French literature.
  impressionismus: Expressionism as an International Literary Phenomenon Ulrich Weisstein, 1973-01-01 Ulrich Weisstein’s collection of 21 essays offers a comparative study of Expressionism as a Modernist movement whose dynamic core lay in Germany and Austria-Hungary, but which transformed artistic practices in other European countries. The focus, Weisstein argues, “must be strictly and sharply aimed at a specific body of works and opinions—a relatively dense core surrounded by a less clearly defined fringe zone—indigenous to the German speaking countries.” The volume spans an “Expressionist” period extending from roughly 1910 to 1925. Weisstein himself contributes two introductory chapters on problems of definition and a thoughtful analysis of English Vorticism. An ample context is set by comparative essays concerned with international movements such as Futurism that had an impact on German Expressionist drama, prose, and poetry, together with essays on the adaptation of Expressionist forms in countries such as Poland, Russia, Hungary, South Slavic nations and the United States. These essays call attention to representative authors and artists, as well as to periodicals and artistic circles. Reviewers have praised not only the presentation of “literary links and interaction” among national cultures, but especially the “most rewarding” interdisciplinary essays on Dada and on Expressionist painting, music, and film.
  impressionismus: The Vanishing Subject Judith Ryan, 1991-10-08 Is thinking personal? Or should we not rather say, it thinks, just as we say, it rains? In the late nineteenth century a number of psychologies emerged that began to divorce consciousness from the notion of a personal self. They asked whether subject and object are truly distinct, whether consciousness is unified or composed of disparate elements, what grounds exist for regarding today's self as continuous with yesterday's. If the American pragmatist William James declared himself, on balance, in favor of a real and verifiable personal identity which we feel, his Austrian counterpart, the empiricist Ernst Mach, propounded the view that the self is unsalvageable. The Vanishing Subject is the first comprehensive study of the impact of these pre-Freudian debates on modernist literature. In lucid and engaging prose, Ryan traces a complex set of filiations between writers and thinkers over a sixty-year period and restores a lost element in the genesis and development of modernism. From writers who see the self as nothing more or less than a bundle of sensory impressions, Ryan moves to others who hesitate between empiricist and Freudian views of subjectivity and consciousness, and to those who wish to salvage the self from its apparent disintegration. Finally, she looks at a group of writers who abandon not only the dualisms of subject and object, but dualistic thinking altogether. Literary impressionism, stream-of-consciousness and point-of-view narration, and the question of epiphany in literature acquire a new aspect when seen in the context of the psychologies without the self. Rilke's development of a position akin to phenomenology, Henry and Alice James's relation to their psychologist brother, Kafka's place in the modernist movements, Joyce's rewriting of Pater, Proust's engagement with contemporary thought, Woolf's presentation of consciousness, and Musil's projection of a utopian counter-reality are problems familiar to readers and critics: The Vanishing Subject radically revises the way we see them.
  impressionismus: New Perspectives on Br?cke Expressionism Christian Weikop, 2017-07-05 New Perspectives on Br?cke Expressionism: Bridging History brings together highly-renowned international art historians in a scholarly work that offers the first full-length reassessment in English of the importance of the Br?cke group to German modernism specifically and to international modernism more generally. It challenges, interrogates and updates existing orthodoxies in the field of Br?cke studies by deploying new research combined with innovative interpretative approaches. This is an exciting volume of essays with an interlinking tripartite structure that charts the significance of this pioneering German avant-garde group in relation to various critical themes, namely, 'cultural and material identity', 'collectivity and selfhood', as well as 'defamation and rehabilitation'. The book is unique in the field in that it seeks to excavate specific historical research relating to the activities of the Br?cke as a bohemian yet nonetheless enterprising artists' community, and considers the contributions of the key members in relation to the dynamics of that group rather than simply on an individual basis. It thoroughly explores the historiography of the Br?cke artists' reception throughout the turbulent history of the twentieth century up until the present day.
  impressionismus: Americana Norvegica, Volume 1 Sigmund Skard, Henry H. Wasser, 2016-11-11 This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
  impressionismus: 2011 , 2013-03-01 Particularly in the humanities and social sciences, festschrifts are a popular forum for discussion. The IJBF provides quick and easy general access to these important resources for scholars and students. The festschrifts are located in state and regional libraries and their bibliographic details are recorded. Since 1983, more than 639,000 articles from more than 29,500 festschrifts, published between 1977 and 2010, have been catalogued.
  impressionismus: German Expressionist Painting Peter Selz, 2023-04-28 Published in 1957, German Expressionist Painting was the first comprehensive study of one of the most pivotal movements in the art of this century. When it was written, however, German Expressionism seemed like an eccentric manifestation far removed from what was then considered the mainstream of modern art. But as historians well know, each generation alters the concept of mainstream to encompass those aspects of the past which seem most relevant to the present. The impact of German Expressionism on the art and thought of later generations could never have been anticipated at the time of the original writing of this book. During the subsequent years an enormous body of scholarly research and an even larger number of popular books on German expressionist art has been printed. Numerous monographs and detailed studies on most of the artists exist now and countless exhibitions with accompanying catalogues have taken place. Much of this new research could have been incorporated in a revised edition and the bibliography certainly could have been greatly expanded to include the important writings which have been published in Germany, the United States and elsewhere since this book was originally issued. The author, however, was faced with the choice of reprinting the original text with only the most necessary alterations-such as updating the captions to indicate present locations of the paintings-or the preparation of a revised text and bibliography. Desirable as a revision appeared, present printing costs would have priced the paperback out of reach for students. It is for this reason that I decided to reissue the original text which stands on its own as a primary investigation of German Expressionist Painting.
  impressionismus: Painting and Sculpture in Europe 1780-1880 Fritz Novotny, 1995-01-01 From the Classicism of Jacques-Louis David to the Realism of Courbet and the Early Impressionism of Renoir, this book outlines the course taken by painting and sculpture in Europe during the 19th century. Faced with the untidy sprawl of individualism which followed the French Revolution and threw up isolated geniuses like Goya, the author nevertheless charts the currents in what was predominantly a century of Naturalism and also - whilst artists were increasingly preoccupied with the inner man - of great landscape-painting when Friedrich, Corot and the Impressionists proper added light and atmosphere to the former achievements of the great Dutch masters.
  impressionismus: Max Liebermann MarionF. Deshmukh, 2017-07-05 Max Liebermann: Modern Art and Modern Germany is the first English-language examination of this German impressionist painter whose long life and career spanned nine decades. Through a close reading of key paintings and by a discussion of his many cultural networks across Germany and throughout Europe, this study by Marion Deshmukh illuminates Liebermann?s importance as a pioneer of German modernism. Critics and admirers alike saw his art as representing aesthetic European modernism at its best. His subjects included dispassionate depictions of the rural Dutch countryside, his colorful garden at the Wannsee, and his many portraits of Germany?s cultural, political, and military elites. Liebermann was the largest collector of French Impressionism in Germany - and his cosmopolitan outlook and his art created strong antipathies towards both by political and cultural conservatives throughout his life.
  impressionismus: The Austrian Mind William M. Johnston, 1983-03-23 Part One of this book shows how bureaucracy sustained the Habsburg Empire while inciting economists, legal theorists, and socialists to urge reform. Part Two examines how Vienna's coffeehouses, theaters, and concert halls stimulated creativity together with complacency. Part Three explores the fin-de-siecle world view known as Viennese Impressionism. Interacting with positivistic science, this reverence for the ephemeral inspired such pioneers ad Mach, Wittgenstein, Buber, and Freud. Part Four describes the vision of an ordered cosmos which flourished among Germans in Bohemia. Their philosophers cultivated a Leibnizian faith whose eventual collapse haunted Kafka and Mahler. Part Five explains how in Hungary wishful thinking reinforced a political activism rare elsewhere in Habsburg domains. Engage intellectuals like Lukacs and Mannheim systematized the sociology of knowledge, while two other Hungarians, Herzel and Nordau, initiated political Zionism. Part Six investigates certain attributes that have permeated Austrian thought, such as hostility to technology and delight in polar opposites.
  impressionismus: German Expressionist Painting , 1957
  impressionismus: German Expressionist Prose Augustinus P. Dierick, 1987-12-15 An extreme sensitivity to gathering social crisis, an accompanying angry enthusiasm for artistic experimentation and renewal – this compelling mix in German art, poetry, and drama of the period 1910 to 1925 continues to draw both scholarly attention and intense popular interest. In this book Augustinus Dierick focuses on another significant but hitherto neglected medium of German Expressionist thought – short narrative prose – in order to illuminate and evaluate the contribution of that genre to one of the twentieth century's most powerful artistic movements. Dierick's study includes a thorough analysis of the works of a broad range of Expressionist prose writers, from those of such specialists in the genre as Edschmid, Heym, Benn, Loerke, Frank, Sternheim, Ehrenstein, and 'Mynona' to the shorter prose works of such major figures as Alfred Döblin, Heinrich Mann, Max Brod, and Franz Werfel. Dierick isolates the thematic obsessions common among Expressionist writers: the pathos of the self in confrontation with nature and with God, the tension between self and the institutions of bourgeois society, and the attractions and dangers of eroticism. Throughout Dierick stresses the interrelationship between themes and their formal expression. He examines many apparent excesses in style and tone, many aberrations in structure and generic characteristics, and identifies them not as needless experimentation but as a necessary result of the attempt to find appropriate forms for extreme situations and complex ideas. Dierick's analysis makes clear that Expressionist prose has an intrinsic artistic value and, because of certain nuances and different accents, must be included in any estimation of the nature and importance of Expressionism as a whole.