French Impressionists Boudin, Eugene Lebasque, Henri Pissarro, Camille Renoir, Pierre-Auguste Sisley, Alfred American Impressionists Benson, Frank Weston Cassatt, Mary Chadwick, William Chittenden, Alice Brown Cooper, Colin Campbell Coppedge, Fern Cornoyer, Paul Curran, Charles Courtney Frieseke, Frederick Carl Fursman, Frederick Frary Garber, Daniel Grant, Gordon Graves, Abbott Fuller Hale, Philip Leslie Hassam, Childe Lawson, Ernest MacMonnies, Mary Fairchild Maley, Alan Metcalf, Willard Leroy Miller, Richard E. Potthast, Edward Henry Prendergast, Maurice Brazil Redfield, Edward Reid, Robert Payton Robinson, Theodore Steele, Theodore Clement Tarbell, Edmund Charles Twachtman, John Henry Vonnoh, Robert William Weir, Julian Alden Whistler, James Abbott McNeill Other Impressionists Aranda, Luis Jimenez Y Sorolla y Bastida, Joaquin Lyall, Laura Muntz McNicoll Ancher, Michael Peter Liebermann, Max Slevogt, Max Thaulow, Fritz Post Impressionists Filiger, Charles Fry, Roger Martin, Henri O'Conor, Roderic Rousseau, Henri van Gogh, Vincent Vuillard, Edouard
|
Artists by Movement: Impressionism Centered in France, 1860's to 1880's Impressionism is a light, spontaneous manner of painting which began in France as a reaction against the restrictions and conventions of the dominant Academic art. Its naturalistic and down-to-earth treatment of its subject matter, most commonly landscapes, has its roots in the French Realism of Camille Corot and others. The movement's name was derived from Monet's early work, Impression: Sunrise, which was singled out for criticism by Louis Leroy upon its exhibition. The hallmark of the style is the attempt to capture the subjective impression of light in a scene. The Impressionist style was probably the single most successful and identifiable "movement" ever, and is still widely practiced today. But as an intellectual school it faded towards the end of the 19th century, branching out into a variety of successive movements which are generally grouped under the term Post-Impressionism.
Artists by Movement: Post-Impressionism France, 1880's to 1900 Post-Impressionism is an umbrella term that encompasses a variety of artists who were influenced by Impressionism but took their art in other directions. There is no single well-defined style of Post-Impressionism, but in general it is less idyllic and more emotionally charged than Impressionist work. Pointillism France, 1880's Pointillism is a form of painting in which tiny dots of primary-colors are used to generate secondary colors. It is an offshoot of Impressionism, and is usually categorized as a form of Post-Impressionism. It is very similar to Divisionism, except that where Divisionism is concerned with color theory, Pointillism is more focused on the specific style of brushwork used to apply the paint. The term "Pointillism" was first used with respect to the work of Georges Seurat, and he is the artist most closely associated with the movement. The relatively few artists who worked in this style also included Paul Signac and Henri-Edmond Cross.
Les Nabis 1891-1899 Les Nabis were a group of Post-Impressionist artists and illustrators in Paris who became very influential in the field of graphic art. Their emphasis on design was shared by the parallel Art Nouveau movement. Both groups also had close ties to the Symbolist painters. The core of Les Nabis was Pierre Bonnard, Ker Xavier Roussel, Felix Vallotton, Maurice Denis and Edouard Vuillard.
Tonalism America, circa 1880 to 1910 Tonalism is a style of painting in which landscapes are depicted in soft light and shadows, often as if through a colored or misty veil. Imported to the U.S. by American painters inspired by Barbizon School landscapes, it was a forerunner to the many schools and colonies of American Impressionism which arose in the first part of the 20th century. The most influential practitioners of the style were George Inness, whose roots were in landscape painting, and James McNeill Whistler, whose approach was primarily aesthetic, aiming for elegance and harmony in the colors of a painting. Tonalism's soft-edged realism also had an influence on the photography of the early 20th century - specifically on Alfred Stieglitz and his circle.
|
